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RI GINAL DRAWINGS OF 


AVAL AND MARINE SUBJECTS 
3 IMPORTANT EXAMPLES BY VAN DE VELDE, DODD, 


ee Boe. ae 


| NER, BUTTERSWORTH, FIELDING, BRENTON, 
; 2 BE ae ANDION, CLEVELEY, STANFIELD, 


THE PROPERTY OF 


> sat 
—— 


VINTHROP NEWMAN 
OF LONDON AND NEW YORK 


oF THE BRITISH SOCIETY FOR NAUTICAL RESEARCH 


E SOLD AT UNRESTRICTED PUBLIC SALE 
oe BY ORDER OF MR. NEWMAN 
IN MONDAY EVENING, FEBRUARY 7TH, 1921 
“+ ‘UNDER THE MANAGEMENT OF 
THE AMERICAN ART ASSOCIATION 
MADISON SQUARE SOUTH 

NEW YORK CITY 


Wal Te 


ry “ oy 


LIBRARY 


M. Knoedler & Co. 
14 East 57th St. 
New York 


‘THE AMERICAN ART ASSOCIATION 
DESIGNS ITS CATALOGUES AND DIRECTS 
oe ALL DETAILS OF ILLUSTRATION 

Pe | TEXT AND TYPOGRAPHY 


~ 


ON PUBLIC EXHIBITION 
AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 
ENTRANCE, 6 EAST 23RD STREET 
BEGINNING THURSDAY, FEBRUARY 3RD, 1921 
AND CONTINUING UNTIL THE TIME OF SALE 


ORIGINAL DRAWINGS OF MARINE SUBJECTS 


DHE PROPERTY OF 


V. WINTHROP NEWMAN 


OF LONDON AND NEW YORK 


MEMBER OF THE BRITISH SOCIETY FOR NAUTICAL RESEARCH 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY ORDER OF MR. NEWMAN 
ON MONDAY, FEBRUARY 7TH,IQ21 
AT 8:30 O CLOCK IN THE EVENING 


AT THE AMERICAN ART GALLERIES 


o ! ) [FOL ON] 
amn[eg om, 
ACTHA AG NVA WHTTIM 


ILLUSTRATED CATALOGUE OF 


ORIGINAL DRAWINGS OF NAVAL 
AND MARINE SUBJECTS 


PHECPROPERTY OF 


V. WINTHROP NEWMAN 


OF LONDON AND NEW YORK 


MEMBER OF THE BRITISH SOCIETY FOR NAUTICAL RESEARCH 


TO BE SOLD WITHOUT RESERVE OR RESTRICTION 
BY ORDER OF MR. NEWMAN 
ON MONDAY, FEBRUARY 7TH, 1921 
AT 8:30 O CLOCK IN THE EVENING 


THE SALE TO BE CONDUCTED BY 
MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF 
THE AMERICAN ART ASSOCIATION, Manacers 
NEW YORK CITY 


FOREWORD BY MR. NEWMAN 


In offering this Collection to the Public it is necessary to emphasize 
the fact that these Naval and Marine Drawings are all the actual 
originals from which in many instances the Aquatints, Mezzotints 
and other Engravings so much sought for, have been reproduced. If 
the acquisition of a rare print brings joy to the Collector’s heart, how 
much greater must be the pride of possession of the unique original, the 
only one in existence. Apart from the purely technical interest the 
artistic merit of most of the examples, many of which are the productions 
of the brush of notable men of a period when the British Water Color 
School was in process of evolution, should appeal to lovers of art for 
their decorative qualities. Covering an extensive range of years and 
the productions of many artists of reputation, they ilustrate varying 
forms and rigging of vessels long since obsolete; the opportunity of repro- 
ducing these from the authentic models no longer existing, these 
therefore become in many cases the sole veritable records of the palmy 
days of the ‘Wooden Walls’ of glorious memory. 

The descriptive text relating to these productions not only refers 
to the scenes and vessels shown, but there is also given a general 
synopsis of the characteristic attributes and mannerisms of their 
various creators. 


[Szgned] V. WINTHROP NEWMAN 


New York City, 
January, 1921. 


Conditions of Sale 


1. Any bid which is merely a nominal or fractional advance may be rejected by the auc- 
tioneer, if, in his judgment, such bid would be likely to affect the sale injuriously. 


2. The highest bidder] shall be the buyer, and if any dispute arise between two or more 
bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. 


3. Payment shall be made of all or such part of the purchase money as may be required, 
and the names and addresses of the purchasers shall be given immediately on the sale of every 
lot, in default of which the lot so purchased shall be immediately put up again and re-sold. 

Payment of that part of the purchase money not made at the time of sale, shall be made 
within ten days thereafter, in default of which the undersigned may either continue to hold 
the lots at the risk of the purchaser and take such action as may be necessary for the enforce- 
ment of the sale, or may at public or private sale, and without other than this notice, re-sell 
the lots for the benefit of such purchaser, and the deficiency (if any) arising from such re-sale, 
shall be a charge against such purchaser. 


4. Delivery of any purchase will be made only upon payment of the total amount due for 
all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., and on 
other days—except holidays—between the hours of 9 A. M. and 5 P. M. 

‘Delivery of any purchase will be made only at the American Art Galleries, or other place 
of sale, as the case may be, and only on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of any purchase during the 
session of the sale at which it was sold. 


5. Shipping, boxing or wrapping of purchases is a business in which the Association is in 
no wise engaged, and will not be performed by the Association for purchasers. The Associa- 
tion will, however, afford to purchasers every facility for employing at current and reasonable 
rates carriers and packers; doing so, however, without any assumption of responsibility on 
its part for the acts and charges of the parties engaged for such service. 


6. Storage of any purchase shall be at the sole risk of the purchaser. Title passes upon the 
fall of the auctioneer’s hammer, and thereafter, while the Association will exercise due caution 
in caring for and delivering such purchase, it will not hold itself responsible if such purchase 
be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed within ten days from the 
date of the sale thereof. 


7. Guarantee is not made either by the owner or the Association of the correctness of the 
description, genuineness or authenticity of any lot, and no sale will be set aside on account 
of any incorrectness, error of cataloguing, or any imperfection not noted. Every lot is on 
public exhibition one or more days prior to its sale, after which it is sold “as is” and without 
recourse. 

The Association exercises great care to catalogue every lot correctly, and will give con- 
sideration to the opinion of any trustworthy expert to the effect that any lot has been incor- 
rectly catalogued, and, in its judgment, may either sell the lot as catalogued or make mention 
of the opinion of such expert who thereby would become responsible for such damage as might 
result were his opinion without proper foundation. 


SPECIAL NOTICE 


Buying or bidding by the Association for responsible parties on orders transmitted to it by 
mail, telegraph or telephone, will be faithfully attended to without charge or commission. 
Any purchase so made will be subject to the above Conditions of Sale, which cannot in any 
manner be modified. The Association, however, in the event of making a purchase of a lot 
consisting of one or more books for a purchaser who has not, through himself or his agent, been 
present at the exhibition or sale, will permit such lot to be returned within ten days from the 
date of sale, and the purchase money will be returned, if the lot in any material manner differs 
from its catalogue description. 


Orders for execution by the Association should be written and given with such plainness as 
to leave no room for misunderstanding. Not only should the lot number be given, but also 
the title, and bids should be stated to be so much for the lot, and when the lot consists of one 
or more volumes of books or objects of art, the bid per volume or piece should also be stated. 
If the one transmitting the order is unknown to the Association, a deposit should be sent or 
reference submitted. Shipping directions should also be given. 


Priced copies of the catalogue of any sale, or any session thereof, will be furnished by the 
Association at a reasonable charge. 
AMERICAN ART ASSOCIATION 
American Art Galleries 
Madison Square South 
New York City 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 


UNRESTRICTED PUBLIC SALE OF ORIGINAL 
DRAWINGS OF NAVAL AND MARINE SUBJECTS 
BY ORDER OF THE OWNER, V. WINTHROP NEWMAN 
OF LONDON AND NEW YORK, MEMBER OF 
THE BRITISH SOCIETY FOR NAUTICAL RESEARCH 


_ MONDAY EVENING, FEBRUARY 7th, AT 8:30 O’CLOCK 


——- ALBERT, BRITISH ARTIST 


ALBERT, 
1. THE ROLLING SEA. Watercolor drawing. Signed at lower right corner,— 

“Albert.” 

A full rigged vessel, all sails set, swinging along under a lowering sky. 
Broad and effective in treatment. 

Height, 101%; length, 1658 inches. 

Note on lower margin,—“Drawings by this artist are in the Victoria & Albert Mu- 
seum, London.” 


WILLIAM ANDERSON 


Born, 1757; died, 1837. Originally a shipwright, he cultivated drawing in his 
leisure hours; removing to London, exhibited at the Royal Academy from 1787 
to 1814. His works are usually of small size and show practical nautical knowl- 
edge. A number of his productions were engraved in aquatint by W. Ellis. 


ANDERSON, WILLIAM 
2. OFF THE ISLE OF WIGHT. Pen and wash drawing, in sepia. Signed in lower 
left corner,—‘“Anderson.” 
Two Frigates on different tacks passing each other in the Solent. Bril- 
liantly executed with great freedom, yet exquisite sense of detail. 
Height, 634; length, 83 inches. 


ANDERSON, WILLIAM 
3. A First-RATER APPROACHING THE ISLAND OF TENERIFFE. Watercolor draw- 
ing. Signed and dated in lower left corner,—“W. Anderson 1801.” 

A brilliantly colored drawing of an eighty-gun ship heading into the Bay of 
Funchal, an armed sloop is to the right, and further in is seen a frigate; 
at the left are native fishing boats; the whole dominated by the peak of 
Teneriffe, which towers in the background. Carefully drawn with much 
fidelity of detail. 

Height, 10%4; length, 16 inches. 


Sale, Monday Evening, February 7th 


ANDERSON, WILLIAM 
4. FRIGATE COMING TO ANCHOR IN Port. Watercolor drawing. 

Five Frigates at anchor in a calm bay, with their sails hanging loosely from 
the yards, one of them saluting; in front is seen a Dutch fishing smack, 
while in the immediate foreground, fishermen in a boat are seining. 
Carefully drawn; the treatment and coloring of extreme delicacy 
display great accuracy of detail. 

Height, 624; length, 85 inches. 


This drawing was probably executed for reproduction by aquatint. 


ANDERSON, WILLIAM 
5. FISHING SMACKS IN A StirF BREEZE. Watercolor drawing. 
A splendid drawing of fishing boats off the coast bearing out to sea. The 
_ coloring of great quality, the free movement of the water especially well © 
rendered, and the atmosphere singularly effective. 
Height, 5%; length, 734 inches. 


GEORGE HENRY ANDREWS, R.W.S., F.R.G.S. 


Born, 1816; died, 1898. He was an engineer by profession, but devoted most of 
his time to painting chiefly Marine subjects in watercolor. His works were 
exhibited at the Royal Watercolor Society (of which he later became Treasurer), 
Royal Academy, and at the British Institution. 


ANDREWS,. GEORGE HENRY 
6. THE FRIGATE “COLCHESTER” WRECKED ON THE LONE SAND, 1787. FoG 
CLEARING Away. Pencil and India wash drawing. 

A well drawn representation of the wreck of the Colchester, which is seen 
dismasted and driven ashore; her crew taking to the boats, while other 
craft surround her to render assistance. The atmospheric effects of fog 
and storm are admirably rendered, the whole scene being well composed 
and pictorially effective, the treatment broad and full of character. 


Height, 10%; length, 14% inches. 


SAMUEL ATKINS 


Born, 1760; died, 1810. But little is known of this artist, he was an Exhibitor 
at the Royal Academy from 1787 till 1808. His work is characterized by effective 
coloring, neatness of finish, and fidelity of detail. 


ATKINS, SAMUEL 
7. FRIGATE “SHANNON” SAILING UNDER ForRESAIL. Watercolor drawing. Signed 
on spar in lower left corner,—“Atkins.” 

A. splendid drawing of the Shannon, laboring in a heavy sea off a rock- 
bound coast, her top-mast struck and her main tops’! blown away. 
Remarkably well colored, and full of spirited movement. 

Height, 13; length, 1734 inches. 


On the reverse, in a panel, is an advertisement in the artist’s own hand, reading 
Mr. Atkins, Hay Market 54, teaches drawing at home and abroad. This is an inter- 
esting commentory on the relative position of the Artists of the period who were 
forced to eke out a precarious existence by teaching “at home and abroad.” 


[See Illustration] 


[4 oN] 
[esolog Jepun surpivg ,wouurys,, o7eSI11] 


SNDLLV THONVS 


Sale, Monday Evening, February 7th 


ATKINS, SAMUEL 
8. LAUNCH OF A THIRD RATER. Watercolor drawing. Signed in lower left cor- 
ner,—“Atkins.” 

An animated and extremely picturesquely rendered drawing, of a flag- 
bedecked 70-gun Ship-of-war, which is seen descending from the ways, 
and gracefully taking the water. On the dock-head and in boats in the 
foreground are massed the cheering spectators, while in the background 
is seen other shipping. The calm peacefulness of the water reflects the 
ruddy light of the sundown which floods the entire scene with a roseate 
hue. 

Height, 11; length, 15% inches. 


ATKINS, SAMUEL 
9g. A FRIGATE OFF THE ISLE OF WIGHT. Watercolor drawing. Signed in lower 
right corner,— “Atkins.” 

A remarkably well drawn and carefully detailed representation of a Frigate 
bearing up channel. In the background the Isle of Wight, with Caris- 
brook Castle on the left, and fishing boats and other vessels in the dis- 
tance. Admirably colored and particularly effective. 

Height, 9; length, 13 inches (Oval.) 


LUDOLF BAKHUYZEN 


Born, 1631; died, 1708. Pupil of Everdingen, also studied under Dubbels. The 
quality of his work, its truth to nature, the transparency and lustre expressed in 
his handling of lights and shadows, his fidelity to form and atmospheric values 
as shown in his rocks, skies, clouds, and in the varying moods of the sea, its calm | 
gales, storms and other manifestations, ranks him next to the younger Van de 
Velde as a marine artist. 


BAKHUYZEN, LUDOLF . ; 
10. Coast SCENE, WITH DutTcH FIisHING Boats. Black chalk and India wash 
drawing. Signed in lower right corner,—“L. Bakhuyzen.” 

An interesting rendition of a foreshore on the Dutch Coast with a fishing 
boat beaching; others at anchor or drawn up on the beach; figures in 
foreground. The entire picture is filled with the sense of plein air, the 
light clouds drifting across the vast expanse of the sky indicated with a 
marked directness. The entire treatment being free and broad, emphasiz- 
ing its verity by sheer simplicity of execution. 

Height, 14; length, 193 inches. 


From the Charles Rogers collection. 


ADMIRAL SIR J. P. BERESFORD 


BERESFORD, ADMIRAL SIR J.P: 

11. A FRIGATE AT ANCHOR, DRYING HER SaILs. Watercolor drawing. Signed in 
lower left corner,—“J. P. B.” 

A remarkably interesting drawing of a fifty-gun Frigate in port after a 

storm, with all her sails hanging loose to dry. This undoubtedly is a 

drawing showing an actual scene, and is of value as a record of an incident 

which will probably never again occur in these days of oil burners. 

Treated with considerable accuracy of detail and clear atmospheric 

impression. 


Height, 4%; length, 7 inches. 


Sale, Monday Evening, February 7th 


CAPTAIN SIR JAHEEL BRENTON 


Captain Sir Jaheel Brenton was born in Rhode Island in 1770. His father 
settled in America during the 17th Century, at the outbreak of the War of 
Independence he sided with the Royalist Party and went to England. The 
Captain served with great gallantry in the Mediterranean and for the action of 
Nov. 6th, 1799, was presented with a Sword of Honor, later becoming Vice- 
Admiral and Governor of Greenwich Hospital. 


PeprReENITON, CAPTAIN SIR JAHEEL 
12. THE HARBOR OF CEPHALONIA. Watercolor drawing. 

A well rendered view of the Harbor of Cephalonia, in Greece; with two 
Frigates lying at anchor off the town, behind which rise rocky hills; in 
the foreground are several figures, and at the right a rudely roofed 
shelter. 

Height, 1138; length, 1734 inches. 


CAPTAIN SIR OSWALD W. BRIERLEY 


Born, 1817; died, 1894. He first studied under Henry Sass at BloomsburyArt 
School, going thence to Plymouth to acquire a knowledge of ships and shipping. 
He first exhibited at the Royal Academy in 1839. After circumnavigating the 
globe, he accompanied the fleet to the Baltic. In 1851 was attached to the 
Suite of the Prince of Wales in his journey to the Nile, and subsequently attended 
the Duke of Edinburgh on his voyage round the World, being later appointed 
Marine Painter to Her Majesty Queen Victoria. 


BRIERLEY, CAPTAIN SIR OSWALD W. 
13. COASTING VESSELS LyING IN HARBOR. Sepia wash drawing. 
A charming delicate study of shipping, comprising a Schooner, Brig and 
Smack, effectively grouped and well defined; the tall slender masts with 
loose hanging sails towering upward; in the background are seen ware- 
houses with other craft unloading. Drawn with exquisite precision. 


Height, 6%; length, 8% inches. 


CHARLES BROOKING 


Born, 1723; died, 1759. Was sometimes termed the “English Van de Velde.” 
He was brought up in Deptford Dockyard, working as a ship’s painter, and 
taking to art, acquired great skill as a painter of shipping and Marine views 
which show an extensive knowledge of Naval tactics; his coloring was bright 
and clear, his water pellucid, his manner broad and spirited. He promised to 
become eminent, but died young from consumption just as he was getting into 
repute. His works have been engraved by R. B. Godfrey, Ravenet, Canot 
and Boydell. 


BROOKING, CHARLES 
14. SHIPPING AT ANCHOR, IN A CALM. India wash heightened with white on blue 
paper. 
A remarkably clever drawing after Van de Velde, retaining all the serene 
beauty of the original, dexterously handled and broadly treated. 
Height, 7; length, 9% inches. 


Sale, Monday Evening, February 7th 


BROOKING, CHARLES 
15. MAN-o-WaR AT ANCHOR WITH SAILS UNFURLED. India wash drawing. 

Signed in lower left corner,—“C. Brooking.” 

An accurate and careful delineation of a 70-gun Third-Rater lying at 
anchor with unfurled sails, exhibiting detailed correctness in every line. 
The ornamental details of stem and stern, the hammock-nettings, the 
ancient Cro’ jack-yard and the curve of the strakes at the water-line are © 
most truthfully depicted. The varying thickness of the cordage and the — 
proportionate exactitude of every part of the vessel renders this a posi- — 
tive record of an obsolete type. The treatment of sky and water, cleat 
and broad, is strikingly effective in its simplicity. 

Height, 1234; length, 167 inches. 

From the Fairfax Murray Collection. 

[See Illustration] 


BROOKING, CHARLES ee. 
16. AN ARMED ENGLISH GALLIOT. I ndia wash drawing. Signed on spar in iowee ; 
left corner,—“C. Brooking.” 

A two-masted vessel of the Brig type formerly known as a Galliot, with — 
foremast sails unfurled and the running rigging unbrailed; floating idly | 
at anchor with her dingey astern, she appears most picturesque in the © 
calm water, with a clear lightly clouded sky above, and her crew lazing 
on deck. An interesting specimen of an early rig. A point of interest is 
the arrangement of the guns, the four after ones being placed on the J 
lower tier. : 

Height, 1358; length, 1934 inches. 

From the Wellesley Collection, 


BROOKING, CHARLES 
17, A FricaTeE. India wash drawing. Signed in lower left corner on buoy,— 

“C. Brooking.” = 

An animated and skillful rendition of a Frigate carrying 22 guns and two 
swivels mounted on the fo’ksl’e. Carefully drawn, exhibiting interesting 
and obsolete details, such as side-opened embrasures for ventilation 
alongside the gun-ports, also, the yards for the spirit-sail and sprit top’sl 
and the holes in the sprit-s’l for evacuating the water which sometimes 
gathered in it from broken seas. The alert action and movement of the 
crew aboard is well represented, while the calm sea into which the ensign — 
dips, reflects the stately vessel floating on its bosom. Overhead the tall 
spars spear the sky, brilliant with sunset effects, the light and shadow on ~ 
the sails and hull being admirably represented. 

Height, 1358; length, 201% inches. 


From the Charles Rogers Collection. Fagan, No. II7. 


s 


BROOKING, CHARLES 
Toate SCHOONER. ndia wash drawing. Signed in lower left corner on buoy,— 

“C. Brooking.” 

An effective drawing of a Schooner with the fores’l, fore-tops’l, main-tops’l 
and spanker set. (It is interesting to note that the latter has no boom.) 
The vessel which would in later parlance be termed a sloop, carries an 
armament of 12 guns abaft the mainmast. In the waist is seen a roofed — 
in arrangement just forward of the quarter-deck which appears unusual. 
With the wind on her quarter the vessel appears to be running at a good 
rate through the water, the crew on deck apparently actively engaged. 
The whole forms an interesting record of an early type of craft. 

Height, 1334; length, 20 inches. 


[eT ON] 
. 1Oyqouy 4e TB MA -O-UBTAL 
ONIMOOUD SATUVHO 


: Ba 
as ; 


Sale, Monday Evening, February 7th 


THOMAS BUTTERSWORTH 


Little is known of the history of Thomas Buttersworth, except that he was a 
frequent exhibitor at the Royal Academy, British Institute and Suffolk Street 
Galleries, from 1813 to 1827. His pictures of the “Battle of Trafalgar” attracted 
much attention when shown at the British Institute, of Watercolor Painters in 
1825. His son J. E. Buttersworth emigrated to the United States, and was 
also favorably known as.a Marine painter. 


BUTTERSWOR TH; THOMAS 
19. THE FRIGATE “APOLLO,” OF 44 GUNS, GOING BEFORE THE WIND. Water- 
color drawing. Signed in lower left corner,—“Thos. Buttersworth.” 

An unusually careful drawing of a Frigate with all sails set, minutely 
precise in every detail, with an absolute definition of the various parts 
which go to make up the structure, even to the planking of the hull, 
the nettings, the breast-hooks, and the varying thickness of the standing 
and running rigging. 

Height, 814; length, 11% inches. 

This is the original drawing of one of a set of eight, drawn by Buttersworth, which 
were engraved by Laurie, in mezzotint, and published in 1795 by Laurie and 
Whittle. It is interesting to note the dropping of the letter S in Buttersworth, 
in the engraved reproductions. 


BUTTERSWORTH, THOMAS ) 
20. THE FRIGATE “SOUTHAMPTON” ON A CRUISE. Watercolor drawing. Signed in 
lower left corner,—“Thos. Buttersworth.” 

A clever representation of a Frigate in full-sail, carefully detailed and 
drawn with great precision. In the distance are seen two other vessels; 
the shortness of the mizzen-mast is remarkable, no provision being made 
for the to’gallant sail. 

Height, 778; length, 1036 inches. 


BUTTERSWORTH, THOMAS 
21. A “QUARTER VIEW” OF A 74-GuN SHIP, WITH A LARBOARD TACK ABOARD. 
Watercolor drawing. Signed in lower left corner,—“Thos. Buttersworth.” 
An effective drawing of a Three-decker in full panoply of sails—heading 
outwards—thus giving a clear view of her decorated and galleried stern, 
the tumble-home of her sides showing the tiers of guns and their blood-red 
port-lids. Three other craft are visible in the distance. 
Height, 8; length, 1034 inches. 


BUTTERSWORTH, THOMAS 
22. A QUARTER VIEW OF THE FRIGATE “HEBE” WITH A LARBOARD TACK 
ABOARD, BRINGING A LUGGER To. Watercolor drawing. Signed in lower 
left corner,—“Thos. Buttersworth.” 

A striking view of a Frigate, seen from stern on, with her courses and 
tops’Ils set, heading towards a Lugger which is crossing her bow. Over 
her decorated and many windowed stern floats the English ensign. 

Height, 8%; length, 11 inches. 


BUTTERSWORTH, THOMAS 
23. THE “MERCURY” OF 28 GUNS, ON A STARBOARD TACK. Watercolor drawing. 
Signed in lower left corner,—“Thos. Buttersworth.” 

A clever representation of an armed sloop with all sails set, carefully 
complete to the most minute detail of her rigging, sails and hull; dis- 
playing the transitional arrangement of the lower sail on the mizzen 
mast. A gaff appears in lieu of the Cro’ Jackyard and the spanker is 
shown laced to the mast. 

Height, 8; length, 1054 inches. 


Tn Ne ip SPER Sa I reo 4, 


Sale, Monday Evening, February 7th 


BUTTERSWORTH, THOMAS 
24. AN OuTwarRD Bounp EAst-INDIAMAN LAYING To ON A ContTRARY WIND, 
TAKING A Pitot ON Boarp. Watercolor drawing. Signed in lower left 
corner,—“Thos. Buttersworth.” 

A well rendered delineation of an armed merchant vessel with her lower 
sails set and her lower deck ports closed. On board an officer is hailing 
an officer aboard a pilot boat nearby, who is answering, one of the 
crew meanwhile is making ready to launch the dingey in order to trans- 
port the pilot to the passing vessel. A boom lashed to the mast of the 
smaller boat is probably for the purpose of launching. At the left is seen 
a small Dutch fishing boat. 

Height, 8%; length, 1114 inches. 


BUTTERSWORTH, THOMAS 
25. AN HOMEWARD BounD EAstT-INDIAMAN TAKING A Pitot ON Boarp. Water- 
color drawing. Signed in lower left corner,—“Thos. Buttersworth.” 

A neatly finished drawing of a pilot boat approaching an incoming East- 
Indiaman; the crew actively engaged in preparing to launch a boat in 
order to take the pilot aboard. Spiritedly drawn, and full of movement. 

Height, 758; length, 113 inches. 


BUTTERSWORTH, THOMAS 
26. A YACHT,—CLOSE HAULED. Watercolor drawing 

An extremely detailed drawing of a yacht, exhibiting a rig of a past period 
and showing a tops’! set differently from the modern type. Every part 
of the vessel is meticulously shown and most carefully drawn. Each 
rope, stay, and block, truthfully indicated. An interesting record of 
the then existing type of pleasure craft. 

Height, 8%; length, 1034 inches. 


BUTTERSWORTH, THOMAS 
27. “SHIPPING NO. 3, 5 /-” 

A book of eight mezzotint plates engraved by Laurie from the eight pre- 
ceding original drawings by Thomas Buttersworth, published at varying 
dates from the Ist July, 1795 to 5th November, 1795 by Laurie & 
Whittle, 53 Fleet Street, London, in original blue paper wrapper evident- 
ly for hand coloring. This book and the eight originals were purchased 
at the sale of Messrs. Lauries’ effects by Messrs Puttick & Simpson, 
London, May 1920. 


These prints are engraved reproductions of Numbers 19 to 26 inclusive in this 
catalogue. 


JAMES WILSON CARMICHAEL 


Born at Newcastle-on-Tyne in 1880; died at Scarborough in 1868. He went to 
sea at an early age, but was subsequently apprenticed to a shipbuilder, being 
employed in drafting and designing. His earlier works were executed in water- 
colors, but about 1825 he began to paint in oils. He exhibited at the Royal 
Academy and elsewhere from 1835 to 1859. 


CARMICHAEL, JAMES WILSON 
28. OrF Dover. Watercolor drawing. 

An armed Brig laying to, to take an approaching pilot aboard. In the 
background, are seen the Dover Cliffs and the entrance to the harbor, 
at the right Dover Castle can be discerned on the heights. Drawn with 
great precision and a pleasing sense of verity and nicety of coloring. 

Height, 634; length, 9% inches. 


Sale, Monday Evening, February 7th - 


JOSEPH CARTWRIGHT 


Born about 1820. Was attached to the Army in a civil capacity and was for 
some time Paymaster-General at Corfu. While in Greece he made many 
sketches, and on returning to England devoted himself toart. In 1828 he was 
appointed marine painter to the Lord High Admiral. He was a frequent 
exhibitor at the Royal Academy and the Society of British Artists. 


CARTWRIGHT, JOSEPH 
29. A FRIGATE LyING IN THE THAMES, OFF SHEERNESS. Watercolor drawing. 
Signed in lower left corner,—“J. Cartwright.” 

A clever drawing of a 50-gun frigate lying at anchor alongside one of the 
old prison hulks. Remarkably well executed and the cloud effects well — 
rendered, giving a picturesque, though sombre effect to the entire ~ 
sketch. The coloring low in key but harmonious. =a 

Height, 634; length, Io inches. 

These Prison hulks, mentioned in Dicken’s “Great Expectations,” used to lie in the 
stream, and were roofed over, being used as temporary prisons for the unfortu- 
nates awaiting transportation to Botany Bay. 


GEORGE CHAMBERS 


Born in 1803; died 1840. He was the son of a seaman, and went to sea at the 
age of 10, but his master noticing his artistic ability, cancelled his indentures 
to allow him to devote himself to painting. Chambers became a house- 
painter at Whitby, spending his leisure time taking drawing lessons and painting 
shipping scenes. Subsequently working his way to London on a trading vessel, 
he assisted on the production of a panorama of London, afterwards working asa 
scene painter. He exhibited from 1820 to 1840 at the Royal Academy and else- 
where. His promising career was cut short in 1840. 


CHAMBERS, GEORGE 
30. A STIFF BREEZE. Pencil and wash drawing, in sepia. 

A remarkably clever sketch of a full-rigged ship with all sails set, but the 
to’ gallant fores’l, the mast having been struck. A superb sense of 
motion is demonstrated in the gallant manner in which the bluff bows 
breast the turbulent waves, the bellying sails lifting her along. At the 
right is another vessel keeling over in the breeze; the whole permeated 
with life and movement. The technical treatment is vigorous and 
singularly effective in its utter simplicity and directness. An imperish- 
able record of unusually truthful preception. 

Height, 14144; length, 19% inches. 

[See Illustration] 


CHAMBERS, GEORGE 
31. FORCING THE PASSAGE OF THE Bocca Tieris. Sepia wash drawing. 

A well drawn representation of the action between the British warships 
Imogene, 28 guns, Captain P. Blackwood, and the Andromache, 28 guns, 
Captain H. C. Chads, against the Chinese forts at Chunepec assisted by 
War Junks. 

Height, 34%; length, 14% inches. 

This drawing of considerable merit, was made for illustration in Mr. Holman’s work. 

The action depicted above was continued from the 7th to the 9th of September when 
the enemy was defeated and the forts almost ruined, many of the defenders perish- 
ing. The British loss was slight. 


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SHAMNVHO ADYOAD 


Sale, Monday Evening, February 7th 


CHAMBERS, GEORGE 
a2 SIGNALLING AT SEA. Oil Painting on Bristol board, mounted on panel. ‘Sioned 
in lower left corner,—“Chambers.” 


An extremely delicate and well painted representation of a “three-deck” 


line of Battleships, with an attendant Frigate, signalling to another 
First-rater in the offing. Exquisitely painted with fine sense of atmos- 


pheric values; the handling of the clouds and water masterly; the 3 


pearly quality of the roseate sky most noticeable, while the breadth of 


treatment, conjoined with the purity of coloring gives this miniature a 


sense of proportionate vastness that is truly remarkable. 
Height, 3; length, 414 inches. 


JOHN CLEVELEY 


Born, 1747; died, 1786. He was brought up at the Dockyard, Deptford, and 
showing an early taste for drawing was instructed in watercolor painting by 
Paul Sandby and his father, as his earlier work is signed J. Cleveley, Jr. He 
became a Lieutenant in the Navy, and as draughtsman accompanied Lord 
Mulgrave in his Voyage of Discovery to the North Pole, and likewise went 
with Sir Joseph Banks to Iceland, occupying a similar position. He first 
exhibited at the Royal Academy in 1770 continuing to do so until his death in 
1786. 


CLEVELEY,, JOHN 
33. SECOND-RATER AT ANCHOR, OFF SPITHEAD. Watercolar drawing. Signed in 
lower left corner,—“Jo. Cleveley.” | 
An interesting study of a 74-gun Ship-of-the-line, coming to anchor 
with her sails unfurled; surrounded by various other craft, and a boat 
putting off from her for the shore. Admirably drawn and colored. 
Height, 5; length, 7%4 inches. 


CLEVELEY, JOHN 
34. Two FRIGATES AT ANCHOR. Watercolor drawing. 

A charming drawing of two Frigates at anchor in an open roadstead, a 
third is seen in the distance at the right, as well as two small craft passing 
the larger vessels. Cleverly drawn and colored with great nicety and 
detail. 

Height, 7; length, 838 inches (Oval). 


CLEVELEY STOW ; 
35. A First-RATE Man oF WAR LYING TO, WITH AN ATTENDANT SQUADRON OF 

FRIGATES. Watercolor drawing. 

An interesting scene in the Channel, of a “Three-decker” accompanied by a 
fleet of five Frigates, some under way and others at anchor. Drawn 
and colored in Cleveley’s best manner, singularly effective in com- 
position and clarity of color, with remarkable good atmospheric feeling 
and absolute truthfulness of detail. Undoubtedly one of the artist’s 
best productions. 

Height, 958; length, 15 inches. 

[See Illustration] 


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AATAATTO NHOL 


Sale, Monday Evening, F ebruary 7th 


ROBERT CLEVELEY 


Born, 1747; died, 1809. He early attained distinction as a painter of naval 
actions, and is supposed to have held a Lieutenant’s commission in the 
Appointed marine painter to H-_R.H. the Prince of Wales (afterward George _ 
= marine draughtsman to H.R.H. the Duke of Clarence (subsequently William Hy 
CLEVELEY, ROBERT 
36. THE BATTLE OF LA HocueE, 1692. Watercolor arises Signed in lower left 
corner,— R. Cleveley.” 4 
An exceedingly meritorious composition of the scene on the occasion of — 
Admiral Edward Russell’s Defeating the French Forces under Admiral — 
Comte de Tourville, whose Fleet was assembled in the effort to replace 
James II on the throne of England. The incident illustrated is the — 
burning of the Soleil Royal; after she had gone in shore, boat attacks — 
were made on her and two other vessels which were set on fire. At the — 
left is seen the stern of the French Admiral’s ship, the flames pouring 
from her deck; in the distance are visible two other French ships she : 
and at the right the Victors. All around are the boats which were active- 
ly engaged in the destruction of the French ships. 
Height, 534; length, 7 inches. 4 
This original drawing is one of a series which was engraved and published in color — 


by R. Boyer of Pall Mall from 1797 to 1803. Parker mentions eight of these in 
his Naval Prints. 


EDWARD WILLIAM COOKE, R.A. 


Born, 1811; died, 1880. Son of George Cooke, well known engraver. He 
specialized in river and marine views, and shipping, which are considered 
ape er He was a frequent exhibitor at the Royal Academy, irom 1864 
to 1880 ; 
COOKE, EDWARD WILLIAM = 
a7. CHALK Cuirrs, Boncuurcu, ISLE oF W. — Lead pencil drawing. Signed 
in lower left corner—‘“E. W. Cooke. R.A.” 

A fine example of pencil drawing, carefully and faithfully rendered, the 
light and shade handled with due balance, and the composition of a high 
order. Shows fishing boats drawn up on the beach, some old cannon 
lying near by, while beyond, winding steps lead up to the summit of 
the Chalky Cliffs at whose base nestles a small hut; close at hand is the 
windlass used for drawing up the boats on the pile-enclosed causeway. 

Height, 674; length, 1o inches. 


\ 


JAMES FRANCIS DANBY 


Born, 1816; died, 1875. English painter who achieved some reputation for 
marine and landscape paintings. He was an exhibitor at the Royal Academy 
and British Insitiute of Water Color Painters trom 1847. 


DANBY, JAMES FRANCIS 
38. Tue “SAN FIoRENZA” AND “AMELIA” ENGAGED WITH THREE War FRIGATES, 
April 9, 1799. W ‘atercolor drawing. Signed on mount at lower right 
corner,— James Danby.” 

A stirring representation of the fight off Belle-Isle, between two English 
Frigates,—the San Fiorenza, 36 guns, Captain Sir H. P. Neale, the 
Amelia, 38 guns, Captain the Hon. Charles Herbert, and three French 
Frigates,—the Cornelie, 40 guns, the Vengence, 40 guns, the Semillante, 
36 guns, a gun vessel and an armed Cutter. Cleverly drawn and effec- 
tively colored, with fine sense of action. 

Height, 16%; length, 2434 inches. 


Sale, Monday Evening, February 7th 


ROBERT DODD 


Born, 1748; died, 1816. Marine painter and engraver who lived early in 

life at Wapping Wall. He began art asa landscape painter, later took up marine 
subjects and in these attained much excellence. Between 1782 and 1809 he was 
a constant exhibitor of Naval Subjects at the Royal Academy. His works had 
- great truth and reality, were extensively engraved and very popular. 


a IDD, ROBERT . 
39. ENGAGEMENT BETWEEN THE “BLANCHE” AND THE “GUERRIERE,” July 109, 
- 1806. Watercolor drawing. 
. A well depicted naval duel between Frigates, clearly defined with con- 
siderable pictorial quality; showing the opening of the attack and the 
fight between these two well matched vessels—the Blanche, carrying 38 
guns, and the Guerriére. 40 guns. The action was brief, the Guerriére 
surrendering after heavy firing. 
Height, 1234; length, 1614 inches. 
._ . The Guerriére, after the engagement depicted above, was added to the British navy 
£ as a 38-gun em 


S Been DUNCAN 


ft ulon. 1803; died in 1882. Early in life he showed artistic ability and 
Was articled to Robert Havell. the engraver; subsequently he devoted himself 
to watercolor painting. He exhibited irom 1830 to 1882, chiefly at the Water- 
Color Societies, but occasionally at the Royal Academy. His marine subjects are 
noted for their qualities of purity and freshness. 


DUNCAN, EDWARD 
i 40. FISHING Boats Purtinc Out To Sea. Watercolor drawing. Signed with 
\ stamp in lower left corner,—*E. D.” 

q A really superb drawing of fishing craft off the coast, tacking into the open; 
marvelously fine in color and splendid breadth of handling. The atmos- 
pheric effects particularly well rendered displaying the eery light that 

i shows itself beneath the dark and lowering rain cloud whose leaden 
tones serve only to enhance the grace and movement of the craft on the 
dancing waves. The sheer beauty and harmony of color, the lively sense 

: of motion, and driving aerial masses, the composition and the clarity of 

= tone, makes this one of the finest examples from this artist’s brush. 
Height, 934; length, 1334 inches. 


DUNCAN, EDWARD 
41. Two Stupies For THE Dereticr. Waiercolor drawing. 

Accurate drawings of the battleship Renown, from two different points of 
view; in each the hulk is shown canted on her side, her copper gleaming 
iridescent in the sunlight, while on the hull ship-breakers are seen at 
work. 

Height, 738; length, 1234 inches. 

These studies were for Duncan's picture of The Derelict, shown at Messrs. Walkers 
Galleries, in Bond Street, London, June, 1920. 


Sale, Monday Evening, February 7th 


C. C. EGERTON 


Lieutenant on board the Venerable 1812. 
EGERTON 2G. 
42. H. M. Sure “VENERABLE.” Drawing. Signed and dated in lower right hand 
corner,—‘C. C. E. 1812.” 
A quaint, but careful detailed picture of His Majesty’s Ship Venerable, 
74 guns. 
Height, 4; length, 4% inches. 


Drawn by C. C. Egerton who served as a Lieutenant on board the Venerable 
in 1812, and presented by him to his brother John. This vessel was subsequently 
wrecked. 


ANTHONY VANDYKE COPLEY FIELDING 


Son of an Artist; studied under John Varley and was one of the talented group 
who frequented Dr. Monro’s. He became President of the Watercolor Society, 
and was awarded the gold medal at the Paris Salon. 


FIELDING, ANTHONY VANDYKE COPLEY 
43. THE MorninG Mist. Oz Painting on Canvas. 
A misty morning with the sun slowly penetrating the greyness, touching . 
with golden light the gradually revealed shipping calmly resting on the 
tranquil water, and giving color and form to both animate and inanimate 
objects. The tall spars with pendent sails, majestically tower upward 
in the soft light which penetrates to the glimmering horizon dotted 
with distant vessels, adding serenity to the placid beauty of the peaceful 
scene. The delicate harmony of color and quality of treatment, broad 
yet simple, are particularly pleasing. 
Height, 10; length, 14 inches. 


FIELDING, ANTHONY VANDYKE COPLEY 
44. THE Lirtinc Foc. Watercolor drawing. 

Out of the drifting mist two vessels, a brig and a schooner, take shape, a 
patch of blue sky appears, and in the growing light a boatful of fisher- 
men are seen sculling out to their nets, whose corks and buoy lie quiescent 
on the still waters; two gulls and some fishing smacks complete this 
harmonious and tranquil scene, broken only by the ripples from the 
oars in the water. Admirably composed and well rendered. 

Height, 7; length, 10% inches. 


JAMES HOLMES 


James Holmes showed an early talent for Art and was apprenticed to an 
Engraver, but soon devoted all his time to painting. In 1817 he first exhibited 
at the Royal Academy, and later was one of the founders of the Soctety of British 
Artists. He was a great favorite of George IV, and possessing much muscial 
talent was in the habit of joining both in singing and playing with his Majesty. 


HOLMES, JAMES 
45. STUDY OF A FRENCH FRIGATE AT ANCHOR. Watercolor drawing. 

A clever sketch of a 60-gun Frigate with sails unfurled and hanging free; 
astern are seen two boats and the outline (in pencil) of another Frigate 
with loosened canvas, a spare mainsail hanging between the fore and 
main masts, and the stu’ns’ls blowing freely in the breeze. 

Height, 6; length, 12 inches. 


This drawing is interesting as a study from the actual vessel seized at a time when 
the cloths were drying in the sunshine, probably after a stormy passage. 


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Sale, Monday Evening, February 7th 


JOHN HOOD 


John Hood, originally a shipwright at Limehouse, practised in watercolors about 
the middle of the 18th Century, and exhibited “Shipping” at the pee Garden 
Rooms. aston engraved some of his work. 


HOOD, JOHN | 
46. VENETIAN STATE GALLEY. India wash drawing. Signed and dated, lowell lefts 
hand corner,—“J. Hood Del. Fecit. 1758.” 
An elaborately decorated State Barge or Galley, bearing a distinguished — 
visitor whose banner is shown at the head of the accommodation ladder 
at the Gangway. The elaborately carved stern profusely painted and | 
gilded is covered with a draped awning for shelter. The curious forward — 
slant of the foremast, the lookouts on the masts, the runway on the — 
projecting stem which carries the Lion of St. Mark for figurehead, the 
outboard gangway running along the sides, the quaint foc’s’le, in appear- — 
ance a fore-castle, and the banks of sweeps, forty in number; while on 
the mainyard six of the crew are engaged in furling the sail. In the dis- — 
tance lies Venice and around are seen typical Mediterranean vessels. 7 

Height, 7; length, 10% inches. 


This rare and interesting drawing of this relic of a former time is well worth studying © 
as showing many antiquated details. 


WILLIAM JOHN HUGGINS 


William John Huggins began life asa sailor and passed his early days at. sea in the 
service of the East India Company. Later he settled in London as a painter 
of shipping, found remunerative employment, and exhibited at the Royal 
Academy. In 1834 he was appointed Marine Painter to the King, for whom he 
painted several large pictures now at Hampton Court. A number of his works 
have been engraved. 


HUGGINS, WILLIAM JOHN 
47. THE BATTLE OF SOLEBAY. Watercolor drawing. 

A beautifully drawn and colored Naval Battle scene, representing the 
engagement between the combined British and French Fleets under the — 
Duke of York, the Earl of Sandwich and the Comte D’Estrees, and the — 
Dutch Fleet commanded by Admiral De Ruyter. Seventy-five large 
ships and forty Frigates are seen in a furious action, during which the 
Royal James which sustained the brunt of the attack took fire and blew 
up, with the loss of her commander, the Earl of Sandwich, and nearly 
1000 of her crew. The French are shown retreating and taking refuge 
in the shallow waters off their coast. 

Height, 7%; length, 934 inches. 


HUGGINS, WILLIAM JOHN 
48. SWAMPING OF A BOAT IN A STORMY SEA. Watercolor drawing. 

A well drawn and effective picture of a boat in a stormy sea evidently 
foundered while returning to the Ship, a “Seventy-four,” which under 
reefed spanker, Maintops’le and Jib, is riding out the storm. Moun- — 
tainous foam-topped waves are seen dashing over the ill-fated boat, 
while the ship’s crew are getting ready to launch another boat for their 
rescue. Well composed, excellently colored, and full of action. The 

forceful representation of the driving clouds and surging waves admir- 
ably rendered. 

Height, 11144; length, 1814 inches. 


[See Illustration] 


Sale, Monday Evening, F ebruary 7th 


HUGGINS, WILLIAM JOHN 
49. DutcH DockyarD SCENE. Watercolor drawing. 

A well drawn and effectively colored representation of a Dockyard; at the 
right two vessels are seen in the course of completion on the stocks, in 
the foreground a dismantled hulk and in the stream a fishing smack is 
towed by a boat toward the further shore where a village and two wind- 
mills are seen. Admirable in treatment, simple and harmonious in color- 
ing, with truthful detail. 

Height, 6; length, 10 inches. 


HUGGINS, WILLIAM JOHN 
50. FisHING Boats Orr SHORE, IN A STIFF BREEZE. Watercolor drawing. 

Two fishing smacks on different tacks, heeling over in the breeze; to the 
right are chalk cliffs, and-at the left other vessels are visible. Full of 
animation and movement, with fine feeling of light and air. Well com- 
posed with effective coloring. 

Height, 614; length, 9 inches. 


ABRAHAM HULK 


Abraham Hulk was a pupilof J. A. Daewelle at Rotterdam. In 1833 he 
went to the United States, later settling in London. He wasa frequent exhibitor 
at the Royal Academy and the Suffolk Street Galleries. 


HULK, ABRAHAM 
51. CoAsT SCENE WITH FIsHING Boats. India and sepia wash drawing. Signed 
in lower left hand corner,—‘“A. Hulk.” 

A remarkably fine drawing of two fishing boats rounding to, off a pierhead; 
shown with splendid sense of movement and action, carefully yet freely 
handled, the definition of the clouds being remarkably good, the atmos- 
pheric quality well rendered, and the entire composition singularly 
effective. 

Height, 5%; length, 9 inches. 


WILLIAM HENRY HUNT 


William Henry Hunt, though born in humble circumstances and sickly asa child, 
overcoming his father’s objections, was apprenticed to John Varley and later 
admitted to the Academy Schools. He became one of the talented group who 
worked at Dr. Monro’s. His work was much esteemed and valued by his 
contemporaries. 


HUNT, WILLIAM HENRY 
52. Two SrupiEs oF FISHING Crarr. Lead pencil drawings. Signed in lower 
right hand corners,—“W. Hunt.” 

Effective though rapidly sketched studies of fishing boats drawn up on 
the strand; executed with direct simplicity, absolute freedom and true 
to nature. On one mount. 

Height, 314; length, 35 inches. 


Sale, Monday Evening, February 7th 


WILLIAM AND JOHN CANTILOE JOY 


The father of “The Brothers Joy” was guard to the Yarmouth coach in which 
town they practised art for many years, working almost invariably together. Self 
taught and independent, they thoroughly understood the trim and rigging of 
vessels and their works are deservedly esteemed. About 1832 they removed to 
Portsmouth, and were employed by the Government to draw the various craft 
used by Fishermen. 


JOY, WILLIAM AND JOHN CANTILOE 

53. IN THE Downs. Watercolor drawing. Signed on buoy at lower left hand 
corner,—“Joy.” 

A French Lugger sailing free, and beyond an English fishing Smack; to the 

left is seen a newly arrived ship awaiting the approaching pilot boat, while 

on the horizon other craft are visible. The technical quality of the draw- 


ing is of the highest merit, free and direct in handling, the clarity of tone ~ 


and purity of color is especially good, the treatment of the sky and 
water is noticeable for its verity and natural effect, the harmony and 
composition is splendid. 

Height, 1014; length, 14% inches. 


A brilliant and exceptionally fine example of the work of the Brothers Joy. 


FRANCIS JUKES 


Francis Jukes began art as a topographical landscape painter, but by great per- 
severance raised himself to much distinction as an aquatint engraver, which art 
he brought to great perfection. 


JUKES, FRANCIS 
54. THE SMUGGLERS COVER. Watercolor drawing. 
A peculiarly effective drawing of two craft lying in a shallow inlet amid 
precipitous rocks, whose gaps lend shelter and concealment for a trade 
much pursued on the Southern coast of England during the French 


Revolutionary Wars. The coloring and treatment is unusual and 


interesting, the handling of the light and shade as well as the balance of 
sunlight and cloud lend to the picture poetic quality and charm. 
Height, 858; width, 234 inches. 


HENDRIK KOBELL 


Hendrik Kobell was the son of a merchant and intended for commercial pursuits, 
but receiving instructions in drawing showed his predilection by sketching the 
shipping and other scenery around Amsterdam. He was sent to England and ~ 
remained sometime in London, where he improved himself in art; later, aban- 
doning trade altogether he was received into the Academy of Amsterdam, becom- 
ing successful as a Marine painter, his works being held in high esteem. 


KOBELL, HENDRIK 


55. HAWKE’s VICTORY AT QUIBERON Bay, 1759. Watercolor drawing. Signed and 


dated, upper right hand corner,—“H. Kobell. 1772.” 

A splendid rendition of a Naval action; vivid and striking, well detailed 
and carefully executed. Full of spirited action, displaying accurate 
technical knowledge, effective coloring and fine sense of composition. 
The handling broad, direct and facile, with well balanced atmospheric 
feeling, correctness of perspective and arrangement of subject. 

Height, 858; length, 1214 inches. 


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Sale, Monday Evening, February 7th 


KOBELL, HENDRICK 
56. SHIPPING ON THE AMSTEL. Jndia wash drawing. Signed on barrel at lower 
left hand corner (indistinctly) ,—“H. Kobell.” 

A detailed drawing of a pleasing scene of tranquil activity, showing dif- 
ferent craft at anchor or plying on the River. In the foreground at the 
left is a full rigged ship; to the right a fishing boat of quaint rig, and as 
far as the horizon other vessels are scattered, while at the extreme left 
the houses and spires of Amsterdam are noticeable. The technical 
merit of this drawing is great, a careful sense of values being displayed 
and the atmospheric effects well rendered, a feeling of repose and quiet 
permeates the whole which is dominated by a glow of light falling softly 
on the rippling water. 

Height, 9%; length, 1334 inches. 


H. KOEKOEK 

- KOEKOEK, H. 

57. AN AMERICAN WARSHIP DRESSED OvuT (CONSTITUTION?). Watercolor draw- 
amg. Signed in lower right hand corner,—“H. Koekoek.” 

A quaint and curious scene in the Mediterranean waters. An American 
Frigate with crew manning the yards is seen saluting the Captain’s 
barge which is departing with a distinguished visitor. It is interesting 
to note the manner of Dressing Ship shown here; the large size of the 
ensigns is noticeable, no signal flags, as at present known, being dis- 
played. The manner of flying two from the sprits’] yard by suspension 
on a weighted rope and the arrangement of the same from the yard-arms, 
the lowering of the tops’! yards, permitting two to fly between that and 
the to’gallant yard. The Artist’s conception of the American Flag 
runs largely to bars, of which he supplies double the normal quantity 
giving, in fact, thirteen of each color. 

Height, 7; length, 934 inches. 


C. H. LEWIS 
Re wis; CoH. 
58. OUTWARD BounD, OFF THE NORTH FORELAND. Watercolor drawing. Signed 

in lower right hand corner,—‘“C. H. Lewis.” 

A British Clipper Ship, all sails set but the mans’le and spanker, driving 
majestically through the waves with a fair wind, and bound for the 
Indies. Other vessels are seen in the distance, while at the right tower 
the white cliffs of Albion dominated by the North Foreland Light. The 
treatment and handling is excellent, and extremely pictorial. 

Height, 1034; length, 19% inches. 


Sale, Monday Evening, February 7th 


PHILIP JAMES DE LOUTHERBOURG, R.A. 


Philip James de Loutherbourg, born in Strasbourg, was educated for the Church, 
but forsaking that for Art, studied in Paris under Casanova, subsequently 
settling in London. He first painted decorations, for Drury Lane Theatre, and 
later on was elected a-.member to the Royal Academy, where he had exhibited 
since 1772. His work was much esteemed and he enjoyed great popularity, 
many of his productions having been reproduced by the most representative 
engravers of the day. 


LOUTHERBOURG, PHILIP JAMES DE 
59 THE BATTLE OF CAMPERDOWN. India wash drawing. 

A stirring naval engagement, with towering Three-deckers enveloped 
in flame and smoke. Thundering guns are hurling death and destruc- 
tion; torn sails and shattered masts loom out of the murk, and wreckage ~ 
to which cling survivors, strews the waters. The dreadful scene, splendid- 
ly portrayed, admirably drawn, effective in composition and broad in _ 
treatment, graphically renders the actual ardor and stress of the conflict. 
Cut at top and sides. _ 

Height, 184%; length, 28% inches. 

This original was engraved in line by W. Fittler, and published in 1801. PARKER, 
Page 135, b 


PETER MONAMY 


Peter Monamy was born in humble circumstances in Jersey, as a boy he was 
sent to England and apprenticed to a house-painter on London Bridge; 
later he attained a certain reputation as a Painter of Sea Pieces. 


MONAMY, PETER : 
60. A SQUADRON OF WARSHIPS IN A StoRM. India wash drawing. Signed in lower 
right hand corner,—“P.M.” ) . 

A finely conceived detailed drawing of a number of vessels scattered on a 
stormy sea, whose hugh waves threaten destruction and disaster. In 
the foreground is seen a British First Rater with her to’gallant masts 
struck and yards lowered, riding out the storm, with only her spanker 
set to keep her head to the wind. Nearby is another ship whose main- 
mast has gone by the board, and in the distance, between the mountain- 
ous waves, the masts and spars of three others are visible. 

Height, 1014; length, 16 inches. 


MORNEWICK, H. 
MORNEWICK, H. 
61. SHIPPING OrF WALMER. Watercolor drawing. Signed on spar at lower left 
hand corner,—“H. Mornewick.” 

Several vessels off the Cliffs at Walmer; at the right, is a brig under way, 
while beyond is seen another, evidently at anchor; on the left, a fishing 
boat, anchored, is furling her sails preparatory to casting her nets; 
other craft are visible in the distance, while, in the background, Walmer 
Castle crowns the heights. This example shows broad execution com- 


yr with delicacy of tone, moderate contrast and great freedom of 
CHect, 


Height, 1014; length, 15 inches, 


Sale, Monday Evening, February 7th 


SAMUEL OWEN 


Samuel Owen was early recognized as a Marine Painter, and from 1794 to 1807 
exhibited Marine and Naval pieces at the Royal Academy. His works are care- 
fully colored and finished. 


OWEN, SAMUEL 
62. FISHING BoATs OFF YARMOUTH. Watercolor Drawing. 
A spirited scene, full of action and movement; of yawls scudding along in a 
lively breeze, while nearby and outward bound is a ship with all sails 
set. The quality of coloring and the atmosphere are excellent, well 


handled and harmonious, the treatment broad and effective. 
Height, 434; length, 878 inches. 


RICHARD PATON 


Richard Paton, born in a low sphere of life, was befriended by Admiral Knowles, 
who took him to sea. His natural talent turned to Marine subjects and he 
became noted for his pictures of Naval Engagements. Four of his paintings 
being now at Greenwich, in the Naval Museum. Many of his works have been 
engraved by Canot, Lerpeniere, Woolett, Fittler, and others. 


PATON, RICHARD | 
oO, ENGAGEMENT OFF CAPE FRANCOIS, ere 21.1757; Plumbago, touched with 
India wash. Signed in lower left hand corner,—“By Richd. Paton.” 

An extremely interesting preliminary sketch for the engraving by P. C. 
Canot of this action, when a British squadron of three ships under the 
command of Capt. Arthur Forrest, successfully routed a French Fleet 
of seven Ships directed by Commodore de Kersaint. This drawing shows 
Van de Velde’s influence; being treated in his manner though lacking in 
the quality of that great Marine Artist. 

Height, 7; length, 12 inches. 


On the reverse in the artist’s handwriting is a list of the vessels engaged, with their 
armament and crew. 


From the Fairfax Murray and Dr. John Percy Collections. Collectors mark J.P., 
unknown to Fagan, on reverse, at lower right hand corner. 


WILLIAM PAYNE 


William Payne, originally in the Engineers Department at Plymouth, developed 
a love of Art, and self-taught struck out a new style, dexterously working with 
the brush almost excluding outline. Later settling in London he soon became the 
fashionable landscape and marine painter of his day. 


PAYNE, WILLIAM 
64. OrF PLyMouTH. Sepia wash drawing. 
A racy and spirited sketch of two ships sailing past a rocky point on which 
' are seen three figures, one looking through a telescope at the foremost 
vessel, and two others seated. Drawn with great facility, a pleasing 
effect of sunlight bathing the entire scene. 
~ Height, 934; length, 13% inches. 


Sale, Monday Evening, February 7th 


NICHOLAS POCOCK 


Nicholas Pocock was the son of a Bristol Merchant, and when young commanded 
merchant vessels sailing from that port. He taught himself drawing and illus- 
trated his Journal with scenes he met with on his voyages. Later on he left the 
sea to devote himself to art, being thereto encouraged by Sir Joshua Reynolds. 
Paintings by him are in the Naval Museum at Greenwich and at Hampion Court. 
Many of his works have been reproduced by the Engravers of his day. 


POCOCK, NICHOLAS 
65. Orr FLamporouGH Heap. India wash drawing. 
A clever drawing, beautifully composed and delicately treated in mono- 
chrome, so well handled as to convey all the quality of color. The 


atmospheric feeling and the movement of the water splendidly defined, 


clear and brilliant, full of movement and action. 
Height, 91; length, 1354 inches. 


POCOCK, NICHOLAS z 
66. OrF WHITBY. Watercolor drawing. 

A splendid drawing, exhibiting a singularly clear and beautiful rendition 
of aerial perspective and atmospheric quality, delicate and harmonious 
in tone. The vigorous and appropriate treatment of the clouds, through 
which the sunlight permeates, gilding the waters and flooding the sky, 


the sea and the shore in a soft effulgent glory, producing a tonal value of © 


uncommon richness. The ship, whose careful detailed accuracy is 
noticeable, slowly undulating from side to side, as she gallantly forges 
through the cresting waves, pointing her masts heavenward as she leans 


to the breeze which bears her onward. In the distance the tall castle — 


crested cliffs stand guardian to the little fishing town of Whitby lying at 
their base. 
Height, 1414; length, 1934 inches. 


[See Illustration] 


SAMUEL PROUT 


Samuel Prout received his first instruction from a drawing master at Plymouth 
and for some years was employed by John Britton who published topographical 
views. From 1803 to 1827 he regularly exhibited at the Royal Academy; later, 
making many tours to the continent in “search of the picturesque,” he became 
celebrated as a painter of old buildings in Normandy and elsewhere, paying little 
attention to minute detail but producing brilliant effects of light, shade and color. 
He was appointed Painter in watercolors to George IV and Queen Victoria. 
Ruskin considered his productions highly meritorious. 


PROUT, SAMUEL 
67. BEACHED FIsHING Boats. Watercolor, outlined in sepia, on blue paper. 

A remarkable drawing of Fishing craft drawn up on the strand, and lying 
alongside of one another with their sails spread and drying in the sun. 
The effect is extremely picturesque, and the well ordered and contrasting 
harmony of coloring in a pleasing key, charms the eye; while the com- 
position and general grouping is delightful, and the draftsmanship of a 
high order. The subtle production of pictorial effect by a series of 
graduated tones. of delicate color on the blue ground, and the fine sense 
of Vas exhibited in the handling of the light and shade is distinctly 
good. 

Height, 13%; length, 91% inches. 


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Sale, Monday Evening, February 7th 


PROUT, SAMUEL 
68. ON THE BEACH, PLYMOUTH SOUND. Sepia wash drawing. 
A group of men fishing in the surf from a pierhead. In front of them the 
distant shore stretches out, while within the enclosed bay are seen 
various vessels. Handled with considerable vigor and direct simplicity, 
broad and effective in treatment, with a breezy sense of atmospheric 

feeling and well balanced values. 
Height, 64%; length, 14 inches. 


PROUT SS SAMUEL 
69. DuTcH FISHING SMACKS, BECALMED. Sepia wash drawing. 

Five Dutch fishing craft, swaying idly on a glassy sea which mirrors their 
picturesqueness. Overhead, golden-edged clouds float in the clear light, 
while in the distance, a mist appears to rise. A wonderful charm per- 
vades the entire picture, which is executed with great simplicity and 
directness, displaying splendid atmospheric quality. The technique is 
broad, vigorous and singularly effective, showing a rapid surety of touch, 
combined with a fine sense of arrangement and composition. 

Height, 74%; length, 10% inches. 


From the collection of the Rev’d. Sir George Barrard, Bart. 


PROUT, SAMUEL 
70. TRAWLING OFF THE KENTISH Coast. Sepia wash drawing. 

An especially splendid rendition of sea and sky, with a fishing smack in the 
foreground, from which a boat, actively engaged in seining has put off, 
the little craft tossing on the heaving waters while overhead the sun is 
bursting gloriously through the banked clouds. The marvellous effects 
of light and atmospheric quality are worthy of Turner at his best. The 
whole picture is realistic in its natural verity and fine sense of motion as 
expressed in the drifting sky and heaving waters. 

Height, 658; length, 9 inches. 


From the collection of the Rev'd. Sir George Barrard, Bart. 


PROUT, SAMUEL 
ee fee ae StorM. India wash drawing. Signed in lower left hand corner,— 
Bros 
A solemn and inspiring scene of a partly dismantled vessel at the mercy of 
the wind and waves, rolling heavily on the storm tossed waters, with the 
moon breaking through the clouds like a ray of hope. A dramatic effect, 
well and broadly handled, displaying dignity and feeling. 
Height, 814; length, 115 inches. 


From the collection of the Rev’d. Sir George Barrard, Bart. 


PROUT, SAMUEL 
72. OFF THE CornisH Coast: TINTAGEL CastLE. India wash drawing. Signed 
in lower left hand corner,—‘S. P.” (in monogram). 

An imposing and majestic composition containing all the weird impressive- 
ness of Doré’s work. At the foot of the beetling crags, the wild waves 
bearing on their stormy surface a helpless derelict, are seen dashing their 
foaming crests, while in the murky sky the moon rises behind the frown- 
ing ruins of Tintagel Castle, lighting up the tragic scene. Broadly 
drawn with fine atmospheric effects, well defined aerial perspective, 
vigorous action and technical merit. 

Height, 656; length, 934 inches. 


From the collection of the Rev'd. Sir George Barrard, Bart. 


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Sale, Monday Evening, February 7th 


PROUT, SAMUEL | . 
73. HuLKs Orr SHEERNESS. Lead pencil drawing. Signed on stern of left hand 


vessel,—“S. P.” (in monogram). 
An interesting study of two wind and weather beaten hulks, lying stem 


and stern, off the shore, ready to be towed in the Medway for dismantling. 3 


Drawn with meticulous precision and extreme detail. 
Height, 10; length, 154 inches. Goa 
On the reverse, the drawing is most carefully repeated, having been probably 
traced through for soft ground etching or for engraving, the thinness of the paper 
justifying this assumption. Great technical excellence and natural fidelity is 
displayed in the treatment and handling of this example. 


[See Illustration] 


J. H. RANDALL 


RAN DAR Iiea [eect 
74. THE BATTLE OF THE NILE. Watercolor drawing. Signed in lower right hand 

corner, — “J. H. Randall.” 

A bold and vigorous drawing depicting that moment during the Battle of 
the Nile when the ill-fated Orient, commanded by Commodore Casa 
Bianca, after being set on fire in the mizzen chains, the flames spreading 
with great rapidity, the burning mass illuminating the scene to the 
horizon, finally blew up with a tremendous explosion. The two antagon- 
istic fleets are seen in line-of-battle, dealing destruction and devastation 
amid the lurid flame and smoke of the contest. 

Height, 1614; length, 24% inches. 


GEORGE PHILLIP REINAGLE 


George Phillip Reinagle was the son of Phillip Reinagle, R. A. by whom he was — 
instructed in art. Specializing in Marine subjects, he accompanied the British 
Fleet to the Battle of Navarino and was also with Admiral Napier’s fleet in 
the action with the Portuguese, paintings of which by him were exhibited at the 
Royal Academy. He had a good knowledge of shipping and was of much promise 
as a Marine painter, but died early in his career. 


REINAGLE, GEORGE PHILLIP 
75. View OF VALETTA HarsBor, Matta. Lead pencil drawing. Signed in lower 

left hand corner,—‘“G. P. Reinagle.” 

At the left, the Asia, 84 guns, is seen lying alongside the mole, with two 
Maltese Xebecs nearby. To the right, two Frigates—the Glasgow and 
Mosquito are at anchor, with other craft scattered about; in the dis- 
tance the low lying hills of the island. Cleverly executed with great 
delicacy and grace of handling. 

Height, 514; length, 9 inches. 


T. 5. ROBINS 
ROBINS hao: 
76. THE CHANNEL FLEET Orr PorTLAND BILL. Watercolor drawing. Signed in 
lower right hand corner,—“T. S. R.” (blind). ; 

A superb representation of the “Wooden Wall of Old England” manouver- 
ing in the Channel. The splendid sense of movement and atmosphere 
strike the observer at once; while the minor key of coloring in exquisite 
tonal values, the effect of aerial perspective displayed in the vast dis- 
tances, the free and spirited action of the water and broad sweep of the 
drifting clouds combine in a resultant quality rarely seen in marine 
paintings. The handling exhibits great breadth, infallible facility, and 
intuitive knowledge of maritime detail, as well as remarkable manifesta- 
tion of original composition. 

Height, 1314; length, 1934 inches. 


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Sale, Monday Evening, February 7th | 


ANTON ROUX 


The brothers Anton and Frederic Roux, making their headquarters at Marseilles, 
painted many of the old Clipper Ships of New England as well as of other 
nations which put into that port. Examples of their work reproducing many 
of the old time vessels are to be found in most of the maritime collections 
throughout the New England States. 


ROUX, ANTON a ‘ . . 
77. H. M.S. “RATTLESNAKE,” IN MARSEILLES RoaDs, 1828. Watercolor drawing. _ 
A drawing of the Rattlesnake, 28 guns, exhibiting great accuracy and clear 
definition of every part, each rope and spar duly and correctly placed 
and reproduced with absolute verity. The coloring nicely modulated, 
the handling carefully and efficiently precise, giving a clear and un- 

questionably exact representation of the ship. ~ | 

Height, 15; length, 22 inches. 


THOMAS ROWLANDSON 


GReEGO, Rowlandson; Vol.I, p.19, quotes Cruikshank as follows,—“He had never 

~ geen anything superior in his estimation to Rowlandson’s waterside and maritime 
sketches, for their clear freshness and simple air of fidelity to nature; the banks 
of the river, the Pool filled with vessels, wharves, landing-places, ports and naval 
stations with the noble men-of-war lying off; and the bustling craft travelling 
between the fleet and the shore; the groups of busy figures, farand near, happily 
introduced in a state of seeming activity; the shipping which he drew with pic- 
turesque ease and dexterity, his far spreading landscapes and distant horizons, 
the treatment of the water, the movement of his skies, and the general sense of 
expanse and atmosphere, were beautiful in the extreme, all noted down, as they 
were, without apparently a second thought, with the slightest possible labour, 
recalling in a forcible degree the drawings of William Vandevelde, who was, in 
Cruikshank’s opinion, the only artist whose marine studies could be quoted in 
comparison with those of Rowlandson.” 


ROWLANDSON, THOMAS ; 
78. THE BATTLE OF THE NILE, BURNING OF “L’ORIENT.” Watercolor drawing. 
Signed in lower left hand corner,—“T. Rowlandson.” 

The ill fated L’Orient, is seen occupying the principal plane of the picture, 
dismantled and almost destroyed, her decks aflame, with clouds of 
smoke pouring from her, veiling the rest of the fleet whose topmasts can — 
be seen above. At the right, Nelson’s ship, the Vanguard, 74, is seen and — 
beyond, the masts of other ships; a boat action fills the right foreground. 
The vigor and activity of the contest splendidly portrayed with the 
inimitable characterization peculiar to Rowlandson. The composition 
and treatment unsurpassed, and the general effect excellent, both in 
directness and simplicity of representation and tonal quality. 

Height, 11; length, 1534 inches. 

[See Illustration] 
ROWLANDSON, THOMAS 
79. PortsMouTH PoInt, LANDING PASSENGERS. ‘Pen and wash drawing in India. | 
_ An animated and interesting scene depicting the arrival of passengers of 

varying degrees, from the shipping lying in the harbor, by way of luggers _ 
beached at the shore, delivering their living freight in small craft. A 
wheeled wherry, drawn by men, accommodating some of the new 
comers, others carried pick-a-back from the small boats near the water’s 
edge. The bustling movement and alert action of the remarkably well 
drawn and characteristic groups, create an effective sense of life and 
motion, backgrounded by the splendidly simple definition of the stately 
ships riding at anchor. 

Height, 634; length, 954 inches. 

[See Illustration] 


THOMAS ROWLANDSON 


Portsmouth Point 


[No. 79] 


Sale, Monday Evening, February 7th 


ROWLANDSON, THOMAS 
80. THE Poot or Lonpon. Pen and wash drawing, in Sepia, tinted. Signed in 
lower right hand corner,—“T. Rowlandson.” 


A clever and characteristic drawing of shipping at anchor in the Pool of — 


London, looking down the river, while various small craft are scattered 
about. In the foreground are seen two wherries, with the watermen 
in conversation, and at the extreme right a dismantled hulk, the whole 
forming a pleasing and animated picture. Drawn with wonderful 


facility and dexterous knowledge, exhibiting with absolute naturalness — 4 


the buoyancy of the different vessels upon the surface of the placid 
waters. 


Height, 644; width, 934 inches. 


ROWLANDSON, THOMAS 
81. ON THE RIVER Dart. Watercolor drawing in outline. Signed and dated in 
lower left corner,—“T. Rowlandson, 1801.” 
A charming and delicately colored scene on the banks of the River Dart. 
In the foreground is seen an animated group just landed from one of 
the coasting vessels, and at the left the boat on-which they arrived. 
At the right, a fishing craft, beached with an attendant dingey along- 
side, and in the stream sailing skiffs and rowboats plying to and fro while 
other shipping lines the shore. 
Height, 6%; length, 658 inches. 


ROWLANDSON, THOMAS 
82. LAUNCHING A FRIGATE, OR How To GET RID OF A TROUBLESOME WIFE. 
Watercolor drawing in outline. Signed with the monogram,—“T. R.” 

A whimsical humoresque drawing of a woman on a plank, filling a kettle 
in the stream, unconscious of her husband behind her, armed with a> 
broom and about to launch her in the river. A waterside house with 
projecting bay is seen behind the man’s figure; alongside lies a small 
sailing craft and others in the distance on the opposite side of the water. 


On a board forming the base of the fence surrounding the forecourt 


of the building is inscribed “High Water Mark,” and to the left in the 

handwriting of the artist is the title,—“Launching a Frigate or how to 

get rid of a troublesome wife.” 
Height, 534; length, 9 inches. 


J. A. RUST 
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83. DutcH Fisuinc Boats Orr AmsTERDAM. India wash drawing, touched with 
sepia. Signed and dated on reverse side,—“J. A. Rust, 1844.” 

A clear and facile drawing of a fishing craft off shore, simple and direct 
in treatment, with particularly good atmospheric feeling; the sky and 
water laid in with dexterity and truthfulness, producing a fine sense 
of distance. On the horizon at the left, in a soft haze, the spires and 
roofs of Amsterdam are visible. 

Height, 534; length, 8% inches. 


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Sale, Monday Evening, February 7th — 


DOMINIC SERRES, R.A. 


Born, 1722; died, 1793. He was intended for the Church by his parents, ran 
away to sea, and starting as a common sailor became master of a vessel trading 
with the West Indies. Taken prisoner by the British he was brought to England, 
and studying drawing decided to become a Marine artist. He was one of the 
foundation members, of the Royal Academy and later was appointed Marine 
Painter to King George III. 


SERRES, DOMINIC 
84. A FRIGATE ARRIVING IN A ROADSTEAD. Watercolor drawing. 

A splendid representation of a 28-Gun Frigate letting go her sails prepara- 
tory to furling them, her decks lively with bustling activity as she 
rounds to before dropping her anchor; surrounding her are numerous 
craft, some lying lazily on the rippling water, others with all sails set 
moving in the faint breeze. A charming scene of maritime activity, 
the fine sense of space and air is noticeably good, the light clouds drifting 
overhead with the pervading sunlight touching them and tinting the 
tiny wavelets lends a peaceful charm to a fascinating and restful scene. 
The technical merit of this drawing is potentially good; simplicity, 
breadth of handling, tonal quality and fine composition are united with 
exceptionally successful results. 


Height, 11%; length, 18% inches. 
[See Illustration] 


JOHN THOMAS SERRES 


Born, 1795; died, 1825. Was the eldest son of Dominic. Brought up under 
his father’s eye he naturally imbibed a love of art; attaining manhood he 
undertook teaching and was drawing master of a Marine School at Chelsea. 
He contributed to the Royal Academy, regularly from 1870 on, and at the death 
of his father succeeded him as Marine Painter to the King. In 1805 he published 
his ‘‘Liber Nauticus, or Instruction in the Art of Marine drawing.” 


SERRES, JOHN THOMAS 
85. THE CUTTING OUT OF THE “ESMERALDA.” Watercolor drawing. 

Original and brilliant work, furnishing a record of a most dashing enter- 
prise, conceived and conducted by Lord Cochrane, that XVIIIth 
century Palladin, while in the service of the Chilian Government. 
The picture exhibits great simplicity and peculiar strength of tone; 
the firm touch, the comprehension and expressive detail is most striking: 
the coloring, while sober in tone, has delicacy of feeling and 
harmonious quality, every stroke being done with extreme precision. 
and certainty. Great clouds piled up in compact masses reflect the ~ 
fiery blaze that invades the whole sky to the horizon, against which © 
the precisely drawn shipping is silhouetted, the weird light flooding the 
waters with a ruddy glow. 

Height, 11; length, 211% inches. 


[See Illustration] 


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Sale, Monday Evening, February 7th 


WILLIAM FREDERICK SETTLE a a 


English Marine artist, whose works can be seen at the Victoria and Albert 
Museum in London. He also exhibited at the British Institution, from 1870 on. 


SETTLE, WILLIAM FREDERICK ee 

86. THE OLD AND THE NEw. Watercolor drawing. Signed with monogram and — 
dated,—“F. W. S. 73. ae 

A remarkably exact drawing of Warships at the transitional period when ey: 
steam, but recently applied, served as little more than an auxilliary 

in their propulsion. The steam vessel shown is as fully rigged for 

sailing, as any of the other craft in conjunction with which she is man- 
euvering. The careful finish and particular precision shown in the 

details of the various types of ships illustrated is noticeable, as also is 

the splendid freedom and fine treatment and coloring of the sky and 

sea, the foam crested waves of the latter being rendered in an extremely ci 

natural manner. 


Height, 744; length, 1558 inches. 


¥ 


WILLIAM CLARKSON STANFIELD, A.R.A. 


Born, 1793; died, 1867. Went to sea when quite young, and was fond of 
sketching ships and Marine subjects. His desire was, when opportunity offered, 
to try art as a profession. He became temporarily disabled by a fall and was 
discharged from the Navy, then accepted an engagement to paint the scenery 
for a theatre at the waterside, frequented by sailors. Later having gained a 
premium for some of his paintings, he set up as a Marine artist and exhibited 
at the Royal Academy, from 1827 till his death. 


STANFIELD, WILLIAM CLARKSON 
87. OFF THE MOUTH OF THE THAMES. Watercolor drawing. Signed and dated in 
lower left corner,—“C. Stanfield, 1859.” 

A remarkably fine drawing with coloring in high values, of strong yet — 
delicate contrasts, and a brilliancy in accordance with the character — 
of the subject, lending to it a peculiar charm. The splendid sense of 
movement in the sky and water is free and spirited; the luminious 
brilliance of the atmosphere, the semi-transparent clarity of the waves 
serve only to emphasize the charm of the composition; singularly 
effective and truly admirable. : : 

Height, 9; length, 12% inches. 


[See Illustration] 


TEN ees WILLIAM CLARKSON = 
. THE Poot BeLow Lonpon Bripce. Watercolor drawing. _ 
An original and striking view of the Pool with its shipping, seen dhectan 
the central arch of London Bridge, looking eastward. The forest of 
masts lines the north bank of the river from Billingsgate to St. Kathe- 
rine’s wharf, dominated by the ancient Tower of London rising above. 
Scattered on the stream are brown-sailed hay-barges and Dutch 
coasting craft, and crowning all the massive central arch of London 
Bridge. Admirably drawn, with directness and deftness of touch, 
simplicity of tone and harmonious contrast. 


Height, 6%; length 97% inches. 


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Sale, Monday Evening, February 7th 


GEORGE STUBBS, R.A. 


Born, 1724; died, 1806. Wasacelebrated animal painter; became President of 
the Incorporated Society of Artists, and subsequently was elected to the Royal 
Academy. Many of his animal pictures were engraved by Woollett, Earlom 
and Val. Green. 
STUBBS, GEORGE 
89. A Catm: SuNnsET. Watercolor drawing. 

An interesting and effective rendition of a brilliant Sunset flooding the 
calm sea with a roseate glory. Over the peaceful waters the glowing 
light of a setting sun diffuses a golden haze, setting forth the manifold 
details of the shipping becalmed on the still sea, whose glassy surface 
reflects the various craft lying quiescent on its bosom. The splendid 
proportions and spreading sails of the Frigate, barely making way as 
she nears her anchorage, contrasts with the “74” and the other Frigates 
nearby. Broad and simple in the handling and remarkably well com- 
posed. 

Height, 14; length, 2034 inches. 

This example is of particular interest as being the only known picture of shipping 
produced by this artist. Its merit is great enough to conceive that had he devoted 


himself to Marine subjects he could have equalled his reputation as an animal 
painter 


FRANCIS SWAINE 


Born, 1730; died, 1782. Of his early life there is little known, he became a 
member of the Free Society of Artists in 1763, and was an exhibitor with them and 
the Incorporated Society until his death. He gained the Society of Arts Medal in 
1764 and again in 1765 for his Marine views. 
SWAINE, FRANCIS 
go. THE BritTisH FLEET OFF BEACHy Heap: Watercolor drawing. Signed and 
dated on spar in lower left corner,—“F. Swaine.” 

An imposing and extremely effective drawing of the Fleet at anchor off 
Beachy Head, the Admiral’s Flag hoisted on a three-decked First 
Rater whose sides are bristling with Guns; alongside of her and to the 
rear are grouped a number of other vessels of varying rate, while in the 
foreground is a newly arrived armed brig with her crew showing great 
activity, both on deck and aloft. Her Captain hailing a departing offi- 
cer who is being rowed ashore in a skiff. In the background is Beachy 
Head , and in the cresent shaped Bay the town of Hastings is seen. The 
fidelity and nicety of detail which is displayed in the representation of 
the Brig is excellent. The coloring is in the tinted manner which marks 
the earliest advent of what was to become famous as the English School 
of Watercolor. 

Height, 1378; length, 21% inches! 

[See Illustration] 
SWAINE, FRANCIS 
gt. A RUNNING FIGHT BETWEEN Two ARMED SCHOONERS. Watercolor drawing. 
Signed on spar in lower left corner,—“F. Swaine—1772.” 

A vigorous and animated scene depicting the chase of an enemy vessel 
whose sails are being riddled with shot; at the instant of the firing of a 
bow gun, which has successfully shattered her after top mast, whose pen- 
dent sail is fluttering in the wind. On board the pursuing schooner, 
cracking along with every stitch of canvas filled, are seen the crew, armed 
with boarding pikes and muskets, prepared to lay alongside the fleeing 
foe. The constructive and working details of the principal craft are most 
carefully and minutely depicted. Particularly good is the fine sense of 
movement and the charm and simplicity of its coloring. 

Height, 14; length, 21 inches. 


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Sale, Monday Evening, February 7th 


SWAINE, FRANCIS 
g2. A FRIGATE LYING IN THE Mepway. India wash drawing. Signed and dated, 
—“F, Swaine.” 

An extremely well executed drawing of an early type of Frigate, with an 
elaborately carved and decorated stern, lying off the Forts at Sheerness; 
at the entrance to the Medway. Nearby, is a small armed sloop, beyond 
which lies a spit of land dotted with the tents of soldiery, and on the dis- 
tant horizon a fleet of vessels. The technique is excellent throughout, 
simple, clear and effective, with a splendid sense of well defined majestic 
efficacy and power. 

Height, 1334; length, 21 inches. 


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SWAINE, FRANCIS . 
93. GRouP OF SHIPPING OFF SHEERNESS. India wash drawing. Signed on rail in 

lower corner,—‘“F. Swaine.” 

A well detailed representation of an armed Yacht, lying at anchor near a 
Three Decker. The most noticeable point in this vessel is the elaborate 
carved taffrail and ornamentation of the stem and the stern, the oval 
gunports are also extremely decorative. In the foreground, beached, is 
seen a lugger and in the distance various other craft, while row boats with 
bustling activity ply between the ships and the shore. 

Height, 14; length, 2134 inches. 


SWAINE, FRANCIS 
94. DutcH LuUGGER PuTTING OuT To SEA. India wash drawing, tinted. Signed 
on spar in lower left corner,—“F. Swaine.” 

A picturesque scene of a lugger in a fresh breeze making for the fishing 
grounds, her sails bellying in the wind, a clear view of the deck showing 
the little cabin. One of the crew actively engaged for’ard near the 
winch, another talking to the steersman and behind trails the dingey. 
At the right is seen a ship bearing away, and at the left another vessel 
anchored. The drawing shows a fine sense of movement and good atmos- 
pheric quality, the whole being rendered in an efficient yet free manner, 
with a nice suggestion of color value. 

Height, 7; length, 87% inches. 


EDWARD SWINBOURNE 


SWINBOURNE, EDWARD 
95. VIEW OF THE Low LIGHTS, SHIELDS. India wash drawing. Signed and dated 
on reverse side,— “Rdw'd Swinbourne, 1823.” 

A charming scene drawn with much delicacy and superb atmospheric feel- 
ing, depicting the calm, still waters of a land-locked harbor, on whose sur- 
face are seen floating a number of vessels of varying rig. At the right, 
alongside a dockyard, is an almost completed hulk in process of building, 
and on the opposite side of the water the town rises silhouetted against 
the bright and shining sky, flecked with delicate clouds. In the fore- 
ground, near a boat drawn up on the strand, is a group of fishwives. 
A feeling of repose and tranquillity pervades the entire picture and the 
glint of sunlight through the clouds, which falls athwart the stream, 
serves but to enhance the all pervading quietude so admirably expressed. 

Height, 10; length, 15 inches. 


An example by this artist is in the Victoria and Albert Museum. 


¢ 
Pe 


Sale, Monday Evening, February 7th 


GEORGE TOBIN 


TOBIN, GEORGE 
96. CORUNNA LIGHTHOUSE AND Town, 1805, H.M.S. “ANDROMACHE” AT ANCHOR. 

Watercolor drawing. Signed and inscribed on reverse side,—“Corunna 
Lighthouse and Town, G.T. 1805.” 

A carefully drawn view of the town of Corunna in Spain, with H.M.S. 
Andromache in the foreground, and several Mediterranean craft nearby. 
Off the town, at the left, is a Spanish war vessel and at the right is seen 
the lighthouse, the whole backgrounded by the Spanish Sierras. Well 
rendered and agreeably colored. 

Height, 634; length, 11 inches. 


TOBIN, GEORGE 
97. Port Praya, ISLAND OF ST. JAGO, CAPE DE VERDE ISLANDS. Watercolor 
drawing. Signed and dated in lower right corner,—“G.T., 1805.” 

A well ordered representation of Port Praya, in the Cape de Verde Islands, 
showing two “74’s” lying at anchor in the Bay near the Fort. In the 
background is seen the gradually rising hills, while above, thrusting its 
towering head through the misty clouds, pointing heavenward, is the 
dominating peak: Drawn and colored with extreme purity of tone, the 
atmospheric effects Gear and delicate, true to nature and picturesquely 
interesting. 

Height, 844; length, 13 inches. 


as on reverse side, Port of Praya, Island of St. Jago C de Verde Islands, G. T. 
I005. 


TOBIN, GEORGE 
98. H.M.S. “PRINCESS CHARLOTTE,” IN A GALE. Watercolor drawing. Signed and 
dated in lower left corner,—“G.T., 1807.” 

A graphic drawing of the Princess Charlotte, 42 Guns, in a stormy gale; the 
crew laying out on the yards taking in sail, the main topmast badly 
wrecked and a number of her complement thrown overboard. The dark 
and tempestuous sky and the heaving waters on which the ship is laboring 
in stress is remarkably well drawn. 

Height, 734; length, 12 inches. 


On the reverse side is an inscription detailing the occurrence, also the remark 
“Bad Paper.” 


JOSEPH MALLORD WILLIAM TURNER, R.A. 


TURNER, JOSEPH MALLORD WILLIAM 
99. PortsMouTH Pornt. Pen and wash drawing, in Sepia and Gray. 

On the beach alongside the quaint gabled houses lie a group of fishing 
boats their sails hanging loosely; in the foreground, a rowboat contain- 
ing three men and beyond are several tall ships backgrounded by the 
buildings of the town. An extremely interesting example of Turner’ s 
Work in what is known as the first period, circa 1794. 

Height, 4; length, 57% inches. 


A corresponding example of this date, is to be found in “The Watercolors of J. M. W. 
Turner” by W. G. Rawlinson and A. J. Finberg, Plate IV. 


Sale, Monday Evening, February 7th 


TURNER, JOSEPH MALLORD WILLIAM 

100. SEA Pisce. Watercolor drawing. - 

A high pooped Dutch Man-o’ War swaying on a choppy sea, teed mizzen- 

sail ballooning in a manner characteristic of this artist’s work, with her . 
elaborate galleries and painted stern carefully detailed. Arona are 

seen numerous craft scudding in the breeze, the left foreground being ~ 

occupied by a Dutch fishing smack whose brown sails and hull form a 

harmonious contrast to the lowering sky. The treatment of the waves 

and the atmospheric effects are of the highest order and the handling _ 

of the light and shade superb. The composition and technical excellence _ 

are remarkably fine. A PARTICULARLY FINE AND SPLENDIDLY EFFEC- 

TIVE MARINE VIEW, belonging to Turner’s second period. a 

Height, 11; length, 15 inches. hag 


TURNER, JOSEPH MALLORD WILLIAM 
IOI. FISHING CRAFT IN A HEAvy SEA. Watercolor drawing. 

Luggers rounding a point in a crested and tumultuous sea. In the offing 
are seen two warships steadily riding the waves and on shore is a group 
of watchers. The brilliant tonal values and dexterous handling of the 
sea and sky are masterly and the fine sense of movement and atmos- 
phere remarkable. A SPLENDID DRAWING IN TURNER’S THIRD MANNER. 

Height, 6; length, 814 inches. 


[See Illustration] 


TURNER, JOSEPH MALLORD WILLIAM | 
102. THE PorTS OF ENGLAND. India wash drawing. Signed on buoy in lower 
left corner,—“J. M. W. T.” a 
A fine spirited drawing showing a coasting vessel heeling over in the  __ 
breeze; at the left is a lighthouse, on the opposite side low cliffs sur- 
mounted by houses and at various distances other craft. The whole 


is drawn with great facility and ease, full of animation and movement. 
Height, 71%4; length, 10% inches. 


A. VAN CROOS 


VAN CROOS, A. 
103. DutcH SHIPPING. India wash drawing. 

A spirited drawing, showing a Dutch fishing smack sailing free, and 
beyond, a full rigged war vessel. The details are well defined and cor- 
rect, the treatment free, yet adequate and the effect pleasing. The 
composition and general disposition is excellent and well rendered. 


Height, 354; length, 37 inches. 


x onl MES, 


. 


JOSEPH MALLORD WILLIAM TURNER, R.A. 


Fishing Craft in a Heavy Sea 


[No. 101] 


Sale, Monday Evening, February 7th 


WILLEM VAN DE VELDE—ruE yYouncER 


Born, 1633; died, 1707. Studied under his father and Simon de Vlieger, 
whom he soon surpassed, and is allowed to be unrivalled in his field. He was 
appointed Marine painter to King Charles II and to King James II. 


VAN DE VELDE, WILLEM 
104. THE SALUTE. Oul painting. 
A superb example of this master’s work, showing an English War ship 
flying the Si. George’s Cross, firing a salute at a passing barge carrying _ 
eminent visitors to a yacht, at anchor nearby, which is displaying a blue — 
ensign at the jack. Back of the first ship lies another, almost concealed by — 
the smoke from the cannon, while beyond, grouped vessels lift their 
sails high in the air. The eonme of the coloring, the clearness of the _ 
atmosphere, the charm of that light which tones down the outlines— 
everything in this exquisite work bears witness to an attentive and 

intelligent study of nature. YE 

Height, 1344; length, 19 inches. 

[See Frontispiece for Illustration] 


VAN DE VELDE, WILLEM ; 
105. DutcH Warsuips. Pencil and India wash drawing. 

A rapid and brilliant drawing of two Dutch War vessels i in full sail, with 
another at anchor a little way off and three small craft near; drawn % 
and washed in with marvelous facility and great veracity. Simple and, 
effective, the few strokes embrace all, giving a realistic quality and 
atmospheric value only to be found in this artist’s work. 

Height, 6; length, 8 inches. 

From the Wellesley collection. 


It is interesting to note the characteristic corrections so often met with in Van der 
Velde’s drawings done in ink, such as the changes in the angles of the yards in the 
foremost ship. 

[See Illustration] 


VAN DE VELDE, WILLEM 
106. A SQUADRON OF ENGLISH WARSHIPS. Pencil and India wash “drawing. 
Signed in lower left corner,—“W. V. V. I.” 

A squadron of War vessels, in a light breeze, preparing to sail. The 
superb draftmanship and knowledge of detail manifest in the realistic 
poise of the craft on the calm water and the faithful rendering of the 
sails and rigging in their proper relative positions and variations is 
masterly. The atmospheric feeling, the correctness of PorsPee ie and 
general seca ts is most commendable. 

Height, 538; length, 1076 inches. 


From the Lord Clive Collection. On the mount, under the drawing, is collector's 
mark, Fagan, 565, and the Collection Catalogue numbers. 


VAN - DEVEL DE=W TSE 
107. ORNAMENTAL DESIGN FOR THE STERN OF A BATTLESHIP. Pencil drawing, 
touched with India wash. 

A splendid example showing the profusely ornamented stern of a warship, 
galleried and elaborated in every accessory, the high poop rising from 
the quarter deck ends in a crested and ostentatious mass of adornment 
which is carried down to the rudder and projecting on the quarter. 

Height, 9%; length, 14% inches. 

It is well known that Van der Velde excelled in the designing of these highly deco- 
rated portions of vessels, with their elaborate carving of sustaining caryatides, 
profusely painted and gilded coats of arms, with their supporters, floriated 


scrolls and other embellishments of a symbollic character. 
From the Fairfax Murray collection. 


WILLEM VAN DE VELDE 


Dutch Warships 


[No. 105] 


Sale, Monday Evening, February 7th 


VAN DE VELDE, WILLEM 

108. ENGLISH WARSHIPS Lyinc To. Pencil drawing, touched with Sepia. _ 
A swift and well executed sketch drawn with evident rapidity and indi- 

cative values; remarkably expressive and correct in detail, though 

handled with exceptional breadth and freedom. Depicting, in the fore- 

ground, two warships, one backing her sails and the other under way, _ 

and in the distance the rest of the fleet is scattered. Two small boats, — 
evidently added to enhance the composition, complete the picture. 

Height, 7%; length, 117% inches. ne 

From the Paul Sandby Collection—collector’s mark “P.S.” Fagan, No. 421, on 

lower left-hand corners; and from the Charles Greville Collection, Chas. Greville’s a a 

signature being on upper right-hand corner, on reverse. ; 


Charles Greville, a famous dilletante, was the protector of Emma Hart, subse- ; ‘¥ 
quently Lady Hamilton. 


[See Illustration] 


VAN DE VELDE, WILLEM 
109. THE DutcH FLEET OFF THE TEXEL. Pencil and wash drawing, in Indta. 
Signed in lower right corner,—“W. V. V.” 
An expressive study of the Dutch Fleet lying at anchor in calm water, 
with sails lowered and flags flying. Around are seen sailboats passing 
~to and from. the ships in the roadstead and the shore. The utter sim- — 
plicity of the swift delineation is remarkable, a couple of broad strokes — 
with the brush give a wonderful effect to the calm water on which the 
accurately sketched vessels seem to float. 
Height, 8%; length, 1458 inches. 
From the Charles Rogers Collection, collector's mark “C, R.” Fagan, No. 117, on 
lower right-hand corner. 


VAN DE VELDE, WILLEM 
110. SHIPPING IN A STIFF BREEZE. Pencil drawing. - Signed in lower right corner, 
—“W.V.V. J. 
A vigorous and bold sketch of a yacht on a stormy, squally sea, evidently 
going about, her sails shaking in the wind; behind tows a boat and 
nearby is seen a ship, head on; beyond, are seen two others heeling 
over in the breeze and in the foreground, a rowboat with the boatmen 
tugging at the oars. The utter abandon and freedom with which this 
is depicted, the wonderful directness and deft simplicity which portrays 
a turbulent sea and stormy sky in a few well defined strokes exhibits the 
hand of a master. 
Height, 9%4; length, 11% inches. 
From the Earl of Warwick Collection; a coronetted “W” within a circle, unknown 
to Fagan, at lower right-hand corner. 


VAN DE VELDE, WILLEM 
111. AN EncLisH Warsuip. Pencil drawing. Signed in lower right corner,— 
AY NE Vi: ” 
A splendid drawing of a warship, displaying in a few lines, the thorough 
knowledge of every detail of a vessel possessed by the artist. The 
entire fabric, complete in every part, the hang of the sails and the lines 
of ports, are portrayed in a few dashing strokes, producing a perfect 
representation of form, likeness of superstructure, bulk and reality. 

Height, 758; length, 11 inches. 


. 
; | | [801 ‘ON] 
bi ane . OL Ssuts'y sdrysre yy ystypsuyy ? 
: AdTAA Ad NVA WATIIM | 


Retires 
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Sale, Monday Evening, February 7th 9 ; + 


VAN? DE-VEUDE. AW ICEENI 
112. Types or Dutcu SHIPPING. Pencil and wash drawing, in Sepia. - 


An interesting group of ships of various types, lying in harbor, their 


extremely tall masts rearing lofty above the high pooped hulls. Drawn — 
with rapid but effective realism; the definite manner in which these — 
vessels ride the water exhibits a clear knowledge and acute perception | 
with least possible effort. 
Height, 614; length, 9 inches. 


From the Collection of Nathaniel Hone, R.A. Fagan, No. 640. 


VAN DE VELDE, WILLEM 
113. STERN VIEW OF A WARSHIP. Pencil drawing. “4 
A warship, with loose hanging sails, the trailing pennants and ensigns, . 
the massive hull and spreading spars are touched in with unsurpassed 
truth and dexterity. The point of view showing the tumble-home and ~ 
deck-line is wonderfully interesting. The simplicity and direct drafts- 
manship being remarkably fine and correct. 
Height, 10; width, 634 inches. 
From the Earl of Warwick Collection. Collector’s mark, a “W” surmounted by an 
earl’s coronet within a circle, on lower right-hand corner. 


VAN DE VELDE, WILLEM 
114. BEACH SceNnE. Pencil Drawing. 
A stranded and partly submerged hull of a fishing smack with men Baise 


engaged on board, and a boat containing two figures alongside, two 


others are seen on the shore. Lying further off is a ship with half furled 
sails. The drawing of the wrecked craft is very carefully detailed, while 


the other vessel is broadly handled and though lightly sketched, is sugges- _ 


tive in its directness and surety of touch. 
Height, 4; length, 7% inches. 


From the H. Mangin sale, the purchaser’s initials “G. A.” in Oe on label at 
lower left-hand corner of the mount. 


VAN DE VELDE, WILLEM 
115. ASTORM AT SEA. Pencil drawing on buff paper. 

A graphic rendition of a ship laboring ina heavy sea; dashed in with i intense 
virility, expressive and definitive, showing all the stress and movement 
incidental to the tempestuous scene. Simple, effective and vigorously 
handled, the feeling of movement is well depicted and the ardor and 
swiftness of the drawing of the vessels and the stormy waters serves but 
to emphasize the power of the elements. 

Height, 724; length, 1058 inches. . 

From the Earl of Warwick Collection; collector’s mark, a “W” surmounted by an 
earl’s coronet within a circle, on lower right-hand corner. 


VAN DE VELDE, WILLEM 
116. StuDy oF A Surp. Pen-and-ink drawing in sepia. An impulsive and spon- 
taneous indicative sketch of a ship with her fores’le, fore tops’! and 
main tops’l set, vigorously and characteristically simple and direct, 
expressing in a few lines the record of movement and structure. 
Height, 438; length, 65 inches. 


From the Sir R. K. Porter Collection. This was inscribed on the back of the original 
mount and is shown on the present one. 


¥ 5 


Sale, Monday Evening, February 7th 


VINCENT VAN DER VINNE 


Born, 1629; died, 1702. Studied under Franz Hals. After visiting many of the 
European cities he finally settled at Haarlem, where he achieved a certain repu- 
tation. 


DER VINNE, VINCENT 

. SHIPPING OFF THE MOUTH OF THE AMSTEL. Watercolor drawing. Signed on 
reverse in lower right corner,—“Vincent Van Der Vinne.” 

Fishing craft, plying their vocation at the mouth of the Amstel, a war 
vessel sailing nearby. Drawn with great delicacy and splendid atmos- 
pheric feeling; the play of light and shadow on the water of great excel- 
lence, the tonal values remarkable well given, the technical treatment 
careful, yet free and nicely accentuated, making this a remarkable 
example of watercolor of so early a date. 

Height, 714; length, 934 inches. 


JOHN WEBBER 


Born, 1752; died, 1793. Wasason of a sculptor. Received his art education 
in Paris and at the Royal Academy in London. Having acquired considerable 
reputation, he was appointed draftsman to accompany Captain Cook in the 
last voyage he made to the South Seas. On his return he was employed by the 
Admiralty to superintend the engraving of his drawings. Subsequently he pub- 
lished a set of views of the principal places visited of which this drawing is one of 
the originals. His drawing of the death of Captain Cook, of which he was an eye 
witness, was engraved by Bartolozzi. 


' WEBBER, JOHN 
118. SouTH SEA ISLANDS. Watercolor drawing. 

A graphic representation of Pearl Sea Fishery in the South Sea Islands. 
t A three masted Galleas of peculiar and obsolete rig is seen attended by 
i several other craft of the lugger type; one of which, in the foreground, 
5 is dredging for pearl shell, the principal vessel standing on and off to 
‘ receive the product of the seining. In the distance are seen other craft 
3 and at the right the rocky coast. The active Native and European 


crew, of the foremost boat, are well and characteristically drawn and 
the details of the shipping well defined. The sky and the water rendered 
LT with natural feeling, the composition excellent. 

Height, 9%; length, 13% inches. 


GEORGE G. WEBSTER 


Born, 1775; died, 1826. He wasa frequent exhibitor at the Royal Academy, and 
his works were esteemed of considerable merit. 


WEBSTER, GEORGE G. 
119. OrF THE Coast OF HOLLAND. Pen and wash drawing, in sepia and India. 
Signed and dated lower right corner,—“G. G. W. 1805.” 
; An extremely attractive and clearly defined drawing of a Dutch Man- 
o-War, with all her lower sails set, saluting, preparatory to dropping her 
anchor which sw ings at the cat head, and rounding to. Her decks a 
5 scene of great activity and a boat crossing her bows is ev ridently carrying 
, a distinguished visitor; around are seen various craft in motion. The 
entire picture is full of life and movement, a fine sense of distance and 
vigor is especially noticeable. 


Height, 1338; length, 1756 inches. 


Sale, Monday Evening, February 7th 


THOMAS WHITCOMBE — : - 


Born, 1760; died, 1825. Practiced in London painting marine subjects. His 
vessels were well and accurately drawn and his work of a high class. His 
productions were in great demand by the publishers. “The Naval Chronicle,” 
“The Naval Achievements of Great Britain” and “The Naval Chronology” were 
among the publications to which he largely contributed, most of these having — 
been reproduced in colored aquatint. He was a constant exhibitor from 1783 to — 
1824. 


WHITCOMBE, THOMAS 

120. CAPTURE OF THE Arcus. Watercolor drawing. Bt 
A well drawn and clearly defined representation of the Naval duel between — 

the U. S. Brig Argus, 20 guns, and the British Brig Pelican, 18 guns, 

August 14, 1813. The two vessels are shown ranged alongside onexs 

another, the Pelican discharging a broadside, The Argus having her 

main braces, main and spring stays, gaff and main trysail mast shot 

away a 

Hehe ta: length, 10% inches. 4 

Below the original drawing is the colored aquatint engraved by T. Sutherland for Ja 


Jenkins “Naval Achievements of Great Britain.” Mentioned in Parker; 232-a. 
The original is inscribed on the reverse with details of the action. ‘ 


WHITCOMBE, THOMAS 

121. A Firty-GuN FRIGATE UNDER Way, Sepia wash drawing. 
A fifty-gun Frigate, every rope of standing and running rigging “ie 
shown, each and every part, tackle, block, etc., carefully and properly 
rendered and duly placed. The bustling activity of the crew engaged — 

in unfurling the fors’l, main s’l, spanker and jibs, swarming up the 

shrouds and hauling on the ropes, under the command of the — 

officer on the quarter-deck, makes an inspiring picture. The majestic — 

sweep of the sails typifying speed and movement, lends an impressive- — 

ness to the whole which the vigorous technical treatment materially aids. 

Height, 1434; length, 19% inches. 


[See Illustration] 


WHITCOMBE, THOMAS : 
122. THE FRIGATE “SOLEBAY” BLOWING UP A FRENCH 80-GUN SHIP. Sepia wash 
drawing. 
Three battleships and the Frigate Solebay, the latter is eine a broadside 
into a French Three-decker which is lowering her flag. Alongside are — 
two British 80-gun vessels, apparently becalmed. The action is graphi- 
cally rendered and the drawing of the ships shows well detailed and — 
careful attention to the faithful reproduction of everything appertaining 
to the rigging, sails, and hulls of the respective craft. The well balanced 
composition and splendid natural effects of the sky and water, as well as 

a fine sense of aerial perspective are noticeable. 

Height, 10; length, 15% inches. 

On reverse is inscribed The Solebay Frigate Blowing up a French 80-Gun Ship. 


[130 “ON] 
ABM Jopug eyes uny-AYL V 
GqNOOLIM SVNOHL 


WHITCOMBE, THOMAS 
ipey MAN-o'WaAR IN A STRONG GALE. ee bee: dre 
A spirited and effective drawing of an 80-gun wars 

along under reduced sail with her top mast str 

nearby. A fine feeling of movement is suggested in 

and cordage, the vessel heeling | over slightly, while fo 

crested waves. The details of rigging and hull are V 

and the breadth and vigor of treatment exceptional, — 

Height, 12;. length, 16 inches. 


THE AMERICAN ART / 


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AUCTIONEER. 


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Sik Phat sf * Ye ab, . 
e BEREAN Sint t 
siete ee eae Ste +h, 
if Rin rip 


pute 
Ae ry n 


Sais 
Lubioy detest hat 


fay 


LUAVAY SEK Ue ARNE Dy ie 
VECURIN eye, 
Ad sh tS 1m 
UA Bhs SEES SC magi 
PEt SA Sellen ding t 
TA Sb ane 

feresy an eo 

*% 


“ 

Lh WA nag yi A oy 
x ; 

As Fesieavepy ~ a 

19) etyseeaer 

Pees 5 


Yeokbs, 
\ rh Rt! vine 
Mine daeem me 


a 
SAR AH AG LRA Mh 


Hw Ve pcb ad 
eh as 
RRR 


Pbk awd: ih “* 
NS ha TWeibyhg MAL as Com 


whe eek yl ‘ay 


diy 


et 


hoe Adieu © 
ed hain 
Wie BEY 
ite TE i: 


nee 
be 
Tey ® 


Pe ceeyeicd Wevaietey 


phe ask Line ve 
atte e 
: 


Mtvodinnktehs a 
Neve ayy zs 


Misa des 


eee 414 


pest aM Malis 

Ma ah ayy 

coe oo UA ay ‘Sm 
5M, 


res Wasele bi 
es Fe MOS ENYA 
RoE Nang 
fueey 


BN 
Saher cits Pus 
Napa baie hess 


Ane 

Bhd i: anitiee 
wane Sie ee Rit 
erases Abe 

HERI Gy) a 

state, Nae 

ste a 


oars te 
Ne a Fete 
ve SPENIPOD ing ty 
Seo Ry 
MORIA MS I) 


PAE NE ron Dy Spr, 
bait 


Ne 
Serie! TRU ree Ponta ys Ba 3 
RMN Riera Ante WAL ays Wy 
a RHR ny nt Reino) 
pel TaN RoR Woks Lette 
SAAT ey Seite a 
Palaebten.s eh 4 
PRADA AH ESI 
Shas bce Aaa we ia ty 
preg ean IDA RE Ha 
+ Saiey [rebost cha 


TE Sur ale! 
— 433 Ue oo 


lyn NS WEAN 
WN Ye Oy 
Pee 
Den sieiAg bd ta 
TAOS PH ADA 


ite 
Siar 


eral zy rte: 
SASS ASA ER RSE 

anew ies 

he edhe st ae 


Pereeeanidal cules 
Shetopehry diag, 
areca ase tesco 
WAYS nine 
Phas th dapssiicien Vee ned eRe sa hen 
rea vant nies 
oe 


HON a Manes as 


3 fblenihy Sheth 
AE ey Pace tery 


Se aa 


eatihtans 


Fee ntasr is 


mead) a nen 


: . 


ae ‘sear 


WH 
Feb Ma inhad 
aiigg! 


wh 
Rien ea 
a 


SAR 
fees sets ‘ 


oa a an ee 


SADA 2 Why) 
oo A 


ede « 


St 


a he 


PAS si oy 
Wee Lele 


yen 5 ays 


Rarbire iniyg 


SES ASAP Tle he ded 
the 


rhe Rhy yma g Shaye 


Ss, 1S Yee a vey 
Sanita 
Ar ake 


ety 
hock TER DN te 


SO Le ee 


ests lea ky Kv ety 
Ait dre he a en 


di 


ow eco 


b abr 
1 ce re 
a 


meh 


agrincayens SS 


5 Fh Maa 


iy 
Betis 


a 


ta 
PE hen 3, 
Leesa atti. Thott ee. ep 
Bip hns 


AN Thaw 
AD Rid 
¥ ye 

nA Dt 

ele Re ina Be pr 

EN ibe bp ats cs bain bee 

CE PASS ‘' 
PN EP 


tery atnay 
Fy SAG may 
rth Hh 


AS 
LAs 
mee 4 


aes 


es 
Ak 
ban) yes 


we Wess, 
nae 


at Greece. 
opre A rey 
rita 


iF 5 yee 
% Piste 
PS ve 
A ea 5 


we Sint yA 


ne pt 
ate 


ty 
OR bye wg 
OHTA eke hy 
ED RE gah pi 
Walieey 


a. mig 
text river 
. xattanat 
OIL Da te hae 
ng 


' piteck ot 1% sree 


Hite ey 


Ja AD) 


ae hed 
ioe Sen ath 
ees Neiety , 


Airy 


ih 

Se 

8 es 

are 
AYR 

Be WFAN Arar ay Sh othe pane 

. deneteter ; 

Baber a sic? 

es Sey + ahs 

rae 

ba nh 

ayeetit argent cas os 


VERNA) H8 hte 

HR OE SE aoe 

ici Riawanaen ne 
Hepsi i 


MAA Cee e 


(soa 
is oe es 


cane AN vane 


ae 
“U2 Abas) a Senn ha N34, 
Sant ped tath Mater elie a Pach sie 
tbat Sa ae 
oo Suni Ah 
kre os ; 


y HEN ’ 
oe tree ret ere 
one — 


Soeur 


balers 


ay Baie 


Aye 
Oe 


; yt Parity 
yaad i} z 
— en 


thy 


a | - 
Boge ee Saar nae 


a 


1S gh 
it aye vba 
usa! 


hat he sa 


a 


